Bartlett Design Anthology | Architecture BSc Year 1

Design Anthology Year 1

Architecture BSc (ARB/RIBA Part 1)

Compiled from Bartlett Summer Show Books

Our Design DNA

At The Bartlett School of Architecture, we have been publishing annual exhibition catalogues for each of our design-based programmes for more than a decade. These catalogues, amounting to thousands of pages, illustrate the best of our students’ extraordinary work. Our Design Anthology series brings together the annual catalogue pages for each of our renowned units, clusters, and labs, to give an overview of how their practice and research has evolved.

Throughout this time some teaching partnerships have remained constant, others have changed. Students have also progressed from one programme to another. Nevertheless, the way in which design is taught and explored at The Bartlett School of Architecture is in our DNA. Now with almost 50 units, clusters and labs in the school across our programmes, the Design Anthology series shows how we define, progress and reinvent our agendas and themes from year to year.

2022 Materials for Change

Max Dewdney, Frosso Pimenides

2021 Distantly Close

Max Dewdney, Frosso Pimenides

2020 Meta-Morphosis: Ovid-Rome-Dalston

Max Dewdney, Frosso Pimenides

2019 Islands of Ground and Water

Max Dewdney, Frosso Pimenides

2018 Collective Journeys – Inhabiting Spitalfields

Frosso Pimenides

2017 Occupying Routes: from the City to the Valley

Frosso Pimenides

2016 Constructing Your Practice

Nat Chard, Carlos Jiménez Cenamor

2015 Longing and Belonging: The First Year in Architecture

Nat Chard, Frosso Pimenides

2014 Homing In: The First Year in Architecture

Frosso Pimenides, Patrick Weber

2013 In Transit: A Journey in the Life of Year 1

Frosso Pimenides, Patrick Weber

2013 Annex to The Bartlett

Frosso Pimenides, Patrick Weber

2012 Annex to The Bartlett

Frosso Pimenides, Patrick Weber

2011 (Re)Making Soane

Frosso Pimenides, Patrick Weber

2010

Frosso Pimenides, Patrick Weber

2009

Frosso Pimenides, Patrick Weber 2008

Frosso Pimenides, Patrick Weber 2007

Frosso Pimenides 2006

Frosso Pimenides 2005

Frosso Pimenides 2004

Frosso Pimenides

Materials for Change Max

Dewdney, Frosso Pimenides

Year 1 Students

Ariel Alper, Alexandra Audas, Lucy Ayres, Beau Beames, Salima Begum, Siya Bhandari, Charlotte Burden, Clive Burgess, Thomas Butterworth, Mason Cameron, Diego Carreras, Nathan Cartwright, Joshua-Jefferson Celada Flordeliz, Yufei Cheng, Chi (Jenna) Ching, Lok Chiu, Ifsah Chowdhery, Jaewoong (Justin) Chung, Shu (Sarah) Chuwa, Rosa CrossleyFurse, Pacharamon (Myla) Danwachira, Natania De-Marro, Laura Dietzold, Sammy Doublet, Josiah Elleston-Burell, Hsiang-Yu (Sean) Fan, Wentong (Iris) Feng, Delphi Fothergill, Jessica Georgelin, Beatriz Goodwins Banuelos, Kiran Gosal, Harshal Gulabchandre, Serena Haddon, Thomas Henly, Aocheng Huang, Holly Hunt, Vladut Iacob, Dahui Im, Kai Jackson, Hye (Helen) Joung, Aryan Kaul, Hashaam Khan, Nadiya Khan, Libby Ko, Beulah Kuku, To (Marcus) Lam, Yiwen (Yuna) Lee, Lihui (Lily) Lin, Laura Maczik, Jillian Mak, Duncan McAllister, Caitlin McHale, Junjie Mei, Allyah Mitra Nandy, Kullaphat Ngamprasertpong, Lily Nguyen, Laura Noble, Tilly Ollerenshaw, Sean Ow, Kai Pentecost, Alex Perez Escamilla, Bryan Png Yiliang, Akif Rahman, Adam Raymond, Iolo Rees, Regan Reser, Jessica Richard, Arthur Ritchie, Jio Ryu, Mattia Salvadori, Andrew Seah, Ryhan Sheik, Hannah Simon, Soph Siney, Nikhita Sivakumar, Charles Smare, Jodie Spencer, Pasathorn Srichaiyongphanich, Sofie Stiekema, Chunyi (Sally) Sun, Hossain Takir, Aleksandra Tarnowska, Alessandra Villanueva, An Vu, Shuheng Wang, Lola Wilson, Theodor Wolf, Zhi (Tina) Wu, Hiu (Amy) Yam, Min Yoo, Yaowen Zhang, Jingwen (Michaelia) Zheng, Deqing (Rachel) Zhou, Peiyan Zou

Materials for Change

Directors: Max Dewdney, Frosso Pimenides

Year 1

This year, in returning to physical teaching, we also expanded the territory of the studio outwards across a series of London sites. Shifting the learning environment to both inside and outside the studio allowed us to spread out and slow down the pace of production. By slowing down, we encouraged students to find their own voices and seek inspiration from their own cultural backgrounds to cultivate confidence and resilience.

The first part of the year was structured around two projects: individual research and a collective installation across six London squares. These projects allowed students to explore architecture, a practice which relies hugely upon the collective ethos of working together with colleagues, tutors, craftspeople and clients.

Students designed, fabricated, installed and performed interventions that emerged from their readings of these sites –the hidden stories and qualities of a place, forgotten events or even the imagined alternative realities. If a place were a person, how would you listen to their feelings and memories? A square is a place that can enable, encourage and host all sorts of unplanned, unforeseen experiences for a group or an individual. We therefore explored ways to connect people together.

The main building project of the year, ‘Materials for Change’, continued the year’s investigations over three scales: body, building and city. Students were asked to examine whether the built structures – buildings and their surroundings that form ‘the city’ – as well as the clothes, actions and identities that surround and are expressed by our bodies, are tailored to our needs. The first phase helped to understand the scale of the city and the building in relation to the body. In the second phase students were asked to design a micro-building, while connecting their vision to the larger area. Students were encouraged to imagine radical possibilities for how the city could be, with new ways of building enabling new ways of living.

During this year’s field trip to Glasgow, we witnessed and were inspired by a resilient city with a strong urbanity and cultural materiality.

Associate Gavin Robotham

Tutors

Alastair Browning, Ivan Tsz Long Chan, Zachary Fluker, Maria Fulford, Jack Hardy, Ashley Hinchcliffe, Tahmineh Hooshyar Emami, Vasilis Ilchuk, Fergus Knox, Stefan Lengen, Siraaj Mitha, Isaac Simpson, Colin Smith

Departmental Tutor Sabina Andron

Thank you to our guest review panellists: Laura Allen, Aurore Baulier, Matthew Butcher, Nat Chard, Nikhil Cherian, Edward Denison, Julika Gittner, Tamsin Hanke, Colin Herperger, Ajmona Hoxha, Edwin Hu, Steve Johnson, Paul Kohlhaussen, Kit Lee-Smith, Marilia Lezou, Tim Lucas, Jaqlin Lyon, Jacob Meyers, Ana Monrabal-Cook, Tim Norman, Colin O’Sullivan, Francisca Lopez Pani, Thomas Parker, Jolanta Piotrowska, Emily Priest, Sophia Psarra, Danielle Purkiss, Rahesh Ram, Lizzie Ruinard, Martin Sagar, Narinder Sagoo, Ellie Sampson, Eoin Shaw, Bob Sheil, Sarah Smith, Mark Smout, Luke Topping, Oliver Wilton, Simon Withers, Yeena Yoon

Thanks to photographers: Jason Brooks, Robert Newcombe, Jatin Naru

Thanks to Sabina Andron, Niamh Grace, James Green, Tom Davies & the B-made team and to our Terrace Club guest speakers Alastair Browning, Christoph Linder, Aeli Roberts. Special thanks to Abigail Tan (St Giles Hotel)

Glasgow field trip: thanks Stuart and Ally Cotton (Kilmahew Trust), Katherine Lee (GSA), Andy Summers, Graeme Sutherland

Y1.1, Y1.3, Y1.5, Y1.6 Guildhall Yard: Diego Carreras, Laura Dietzold, Josiah Elleston-Burell, Jessica Georgelin, Thomas Henly, Aocheng Huang, Holly Hunt, Hye (Helen) Joung, Libby Ko, Beulah Kuku, Yiwen (Yuna) Lee, Laura Maczik, Pasathorn Srichaiyongphanich, Theodor Wolf, Zhi (Tina) Wu ‘Gestures/Exchange: A Performance of Memories’. Guildhall Yard, a historic civic space which lies empty most of the time, is temporarily filled with performance and sound to re-enact memories of its past. Theatre, costume and sound are intrinsic to Guildhall Yard, which was built upon a Roman amphitheatre as the ceremonial centre of the livery companies of London. The yard is a tabula rasa ready for imprinting. Through performance, movement of the body, costume and sound are united and enable the memories of the yard and its history to resurface.

Y1.2 Site Context Studies: All Students ‘Catalysts, Edges & [Un]Stable Elements: A Study of London Squares’. A public square can be seen as a void or tabula rasa; often they are contested spaces and not in public ownership. The project recorded fragments across a series of study sites in 2D and 3D. These took the form of scaled models, castings of details and edge conditions and translations of elements from the site into another material or form. Y1.4, Y1.7, Y1.8 Peckham Square: Ifsah Chowdhery, Natania De-Marro, Sammy Doublet, Serena Haddon, Dahui Im, Lily Nguyen, Sylvia Ninh, Sean Ow, Adam Raymond, Iolo Rees, Mattia Salvadori, Andrew Seah, Hossain Takir, An Vu, Deqing (Rachel) Zhou ‘Gestures/ Exchange: Balk – Reimagining Peckham’s Trading History’. Built on the site of the Peckham branch of the Grand Surrey Canal, Peckham Square was crucial in handling cargo brought to London via canal in the 19th and early 20th centuries. Boats would deliver raw timber ready to be processed and squared for construction. These beams were carried by canal workers (lumpers), who transported wood from the barges to the timber warehouses, which have since been replaced by a modern leisure centre and drama school. The performance brings the movements of the canal workers to life through the physicality of the connection to the timbers at the forefront of the choreographed movements. The actors carry timber planks gusseted by concertina fabric. By way of these movements the surfaces expand and contract, accentuating the postures, rhythms and struggles of the lumpers as they haul the unprocessed timber through the docks. Y1.9, Y1.11, Y1.12 Queen Square: Jaewoong (Justin) Chung, Aryan Kaul, Hashaam Khan, Laura Noble, Tilly Ollerenshaw, Kai Pentecost, Bryan Png Yiliang, Regan Reser, Jessica Richard, Jio Ryu, Ryhan Sheik, Soph Siney, Sofie Stiekema, Chunyi (Sally) Sun, Alessandra Villanueva, Shuheng Wang, Yaowen Zhang ‘Gestures/Exchange: The Queen’s Journey’. Queen Square commemorates Queen Charlotte, whose statue overlooks the surrounding hospitals where she would visit her husband, George III. The installation reinvigorates the historic remnants of the square, returning the focus of the site back to the Queen herself. Through the use of forced perspective on a prescribed bench in the square, the royal procession interacts with a small region of the square, reinforcing the intimacy the Queen and her husband shared. An armrest, foot stool and ergonomic cushion come together to direct the viewers towards the statue of Queen Charlotte. In the procession, actors enter two by two and set up installation pieces, as well as three fabric screens that frame and dress the statue in a fitting makeover of royal blue.

Y1.10, Y1.13, Y1.14 Arnold Circus: Alexandra Audas, Lucy Ayres, Beau Beames, Siya Bhandari, Clive Burgess, Thomas Butterworth, Nathan Cartwright, Yufei Cheng, Lok Chiu, Delphi Fothergill, Beatriz Goodwins Banuelos, Nadiya Khan, Caitlin McHale, Nikhita Sivakumar, Aleksandra Tarnowska, Lola Wilson ‘Gestures/Exchange: Resurfacing the Buried’. Arnold Circus stands on the site of the Old Nichol slum, demolished in the 19th century. The installation uncovers long-buried structures by reimagining the architectural and domestic elements in the Victorian slum. Even in the present day, Arnold Circus is a contested space challenged with protecting its heritage. The community is invited to enjoy this window into the past, remembering the collective memories of what was there before. Y1.15, Y1.17, Y1.18 Neal’s Yard: Chi (Jenna) Ching, Wentong (Iris) Feng, Kiran Gosal, Vladut Iacob, To (Marcus) Lam, Lihui (Lily) Lin, Jillian Mak, Duncan McAllister, Junjie Mei, Allyah Mitra Nandy, Kullaphat Ngamprasertpong, Alex Perez Escamilla, Arthur Ritchie, Hannah Simon, Min Yoo, Jingwen (Michaelia) Zheng ‘Gestures/Exchange: The Lover, the Barista, the Botanist and the Gatekeeper’. Neal’s Yard sits tucked away in a corner of Seven Dials, London. Historically a site for warehouses, it is now a theme park for tourists to explore. Despite its small size, the yard juggles public, commercial and residential activities, leaving little space or need for new interventions. Instead of adding to the packed space, the installation reflects upon its existing qualities. Due to its similarity to a stage set, the performance directs attention to the highly curated nature of the space. Drawing on existing characteristics, four mechanisms are created – the gatekeeper, the barista, the botanist and the lovers – each exploring the gestures and exchanges of the yard. Each prop encourages participation, with one leading to the next, taking the causal passer-by from a passive member of the audience to an active contributor. By putting on a performance in the existing ‘stage’, the project looks beyond the theatrical façade, encouraging people to critically reflect upon their environment and their movement through it. Y1.16, Y1.19, Y1.20 South End Green: Salima Begum, Charlotte Burden, Mason Cameron, Joshua-Jefferson Celada Flordeliz, Shu (Sarah) Chuwa, Rosa CrossleyFurse, Pacharamon (Myla) Danwachira, Hsiang-Yu (Sean) Fan, Emma Greaves, Harshal Gulabchandre, Kai Jackson, Akif Rahman, Charles Smare, Jodie Spencer, Hiu (Amy) Yam, Peiyan Zou ‘Gestures/Exchange: A Cloud in South End Green’. The fountain of South End Green is a reminder of the River Fleet that used to flow down from Hampstead Heath. A collection of found, temporary objects – cans, bottles, lighters and canisters – are displayed underneath a cloud of fabric draped around the fountain. The ghost of the river rises above, illuminated by the torches beneath.

Y1.21 Building Proposal Models: All Students ‘Re-Imagined Realities’. Architectural designers have to understand place, location and area. The essence of a place, made up of magic, memories and ideas, must be personally interrogated. Over the course of the year, students learn to listen to sites, identifying key aspects that will be heightened, changed or reconfigured through design. Personal experience – whether that be cultural heritage, family roots or individual identity – is key to designing a building. It is how we understand and interpret daily habits, enabling us to invent new ways of inhabiting a room, place or location. The resulting architecture acts as a catalyst for existing sites. They could be set in the now or in the distant future, adding to and enhancing the life that is there.

Distantly Close Max Dewdney, Frosso Pimenides

Year 1 Students

Sara Abbod, David Abi Ghanem, Fatemeh Abkhou, Dimitrios Andritsog, Lorenzo Angoli, Shujian (Bob) Bao, Eirini Bargiotak, Amy Bass, Ellen Baxter, Ani Begaj, Ayisha Belgore, Sarah Bibby, Jack Bowers, Marcus Busby, Adam Butcher, Maria Bystrons, Zeynep Cam, Marco Carraro, Fasai Chainuvati, Sharukan Chandrar, Zhun Lyn Chang, Ibrahim Charafi, Nan-Hao Chen, Jaeho (Leo) Cho, Yongjun Choi, Daniel Cioara, Ilia Cleanthous, Rebecca Criste, Amy Daja, Sophie Du Ry Van Beest Holle, Josiah Elleston-Burell, Chuhan (Paris) Feng, Scarlet Fernandes, Sofia Forni, Maria Gasparinatou, Magdalena Gauden, Luke Gifford, Myles Green, Edmund (Flurry) Grierson, Esin Gumus, Shuhao Guo, Phoebe Hampson, Magdalena Herman, Ioi (Nicole) Ho, Shing (Bertha) Ho, Sophie Hoet, Claudiu-Liciniu Horsia, Rabiyya Huseynova, Maria Hussiani, Zubair Ibrahim, Ina-Stefana Ioan, Fahad Janjua, Zuzanna Jastrzebska, Marike Jungk, Fatim Kamara, Katie Kamara, Shouryan Kapoor, Fardous Khalafalla, Adam Klestil, Archie Koe, Mikaella Konia, Emmanouil Konstantinou, Arushi Kulshreshtha, James Kumagai, Shiwei Lai, Tran Lai, Chin (Shirley) Lam, Hoi Lee, Chanya (Miu) Leosivikul, Jinyi (Athena) Li, Yutong (Sabrina) Li, Hannah Lingard, Zofia Lipowska, Maisy Liu, Sze (Christopher) Liu, Hui-Shan Low, Mayling Ly, Riya Mamtora, Max Messer, Natalia Michalowska, Po (Tate) Mok, Giulia Mombello Perez, Jihoon Moon, Peter Moore, Rohini Mundey, Iga Najdeker, Jatin Naru, Barbara Nohr, Ciaran O’Donnell, Zeynep Okur, Ioana Oprescu, Charize Orio, LuizaElisabeta Oruc, Roland Paczolay, Sneha Parashar, Alexandria Pattison, Gabriella Peixouto Bandeira Da Silva, George Perks, Keeleigh Pham, Maria Pop, Milen Purewal, Gautham Puthenpurackal, Eden Robertson, Adriana Rodriguez-Villa Lario, Julia Rzaca, Luke Saito Koper, George Sanger, Gabriela Sawicka, Nora Seferi, Oyku Sekelu, Teshan Seneviratne, Elina Seyed Nikkhou, Rauf Sharifov, Yingqi (Isabella) Shen, Annika Siamwalla, Yong (Benedict) Siow, Kateryna Skiba, Besim Smakiq, Skylar Smith, Julia Specht, Ilinca-Maria Stanescu, Layla Stevens, Teodora-Georgiana Strugariu, Pasut Sudlabha, Sidre Sulevani, Scott Tan, Alara Taskin, Ilya Tchevela, Amelia Teigen, Cosmin Ticus, William Tindall, Emily To, James Tyler, Amelia (Lettie) Vera-Sanso Talbot, An Vu, Eloise Joanne Walders Searle, Chi (Matthew) Wang, Haodi (Hardy) Wang, Caitlin Wong, Jade Wong, Kwong (Christine) Wong, Tsz (Vivian) Wong, Zaynah Younus, Nicole Zhao, Ziyan Zhao, Deqing (Rachel) Zhou, Yanyu (Cici) Zhou, Shiyan Zhu, Mateusz Zwijacz

Distantly Close

Directors: Max Dewdney, Frosso Pimenides

This unprecedented year started with a project entitled ‘Rear Window’, which asked students to examine their immediate physical space –objects, thresholds and interfaces – and explore their windows and the world beyond them. Through this drawing study of proximity, perspective and perception they discovered a different form of imagining, inventing extraordinary versions of the ordinary.

The Year 1 installation, a collective project, had to occur virtually for the first time. Collaboration is a skill used to cultivate at all levels; as we learned to collaborate remotely across the globe, this extraordinary year saw fiction become reality. The installation was based on an examination of the students’ own daily rituals, as well as those of others, and what was both near and far. These examinations were then translated into ten spaces of wonder. Each group of 15 students was given one well-known personality, including the astronaut Mae Carol Jemison, artists Ai Weiwei and Marina Abramović and the musicians Patti Smith and Björk, amongst others. Working with physical modelling and stop-frame animation, the students produced ten short films that translated their characters’ everyday rituals and routines into spatial events.

As an alternative field trip, we embarked on a new way of learning and familiarising ourselves with the world. We collaborated with five international architectural museums/archives: RIBA/V&A (London, UK), Drawing Matter (Somerset, UK), CCA (Montreal, Canada), M+ (Hong Kong) and Norman Foster Foundation (Madrid, Spain), in order to understand drawing as a fundamental tool of communication.

This year’s main building project was called ‘Proximity City: Looking back to go forward’, which operated on two scales: the first addressed the students’ local areas and identified what was special about them and what was missing from a civic point of view; the second located a site for students to design a building that addressed their reading of the area. In particular, students drew ideas from the concept of the ‘15-minute city’ – a city of proximity – and identified an immediate social programme of living, working, supplying, caring, learning and enjoying.

Through a small building design we encouraged students to develop a critical understanding of what immediately surrounds them, creating a future vision for that which is missing and to visualise what it could become in a post-pandemic world. Year 1 Architecture BSc became a global studio, endeavouring to understand the cultural heritage and personal interests of each student in their unique first year of architectural education.

Associates: Stefan Lengen, Gavin Robotham, Manolis Stavrakakis

Tutors: Alastair Browning, Joel Cady, Ivan Tsz Long Chan, Zachary Fluker, Maria Fulford, Alicia Gonzalez-Lafita Perez, Ashley Hinchcliffe, Vasilis Ilchuk, Fergus Knox, Stefan Lengen, Matt Lucraft, Laura Mark, Alicia Pivaro, Lucy Read, Isaac Simpson, Colin Smith, Manolis Stavrakakis, Gabriel Warshafsky

Thank you to our media studies coordinators Joel Cady and Stefan Lengen, and tutors Zachary Fluker, Niamh Grace, Jack Hardy, Matt Lucraft

Y1.1 Ellen Baxter, Ibrahim Charafi, Nan-Hao Chen, Daniel Cioara, Rebecca Criste, Chuhan (Paris) Feng, Maria Hussiani, Yutong (Sabrina) Li, Zofia Lipowska, Jatin Naru, Ciaran O’Donnell, Charize Orio, Gabriela Sawicka, Yingqi (Isabella) Shen, Tsz (Vivian) Wong ‘Wunderkammer’. The project is composed of 15 tapestries all inspired by the life, work and daily rituals of Italian fashion designer Elsa Schiaparelli (1890–1973).

Y1.2, Y1.26 Maisy Liu ‘The Fish Hut’. The project is located in the rural district of Shunyi in Beijing, China. Because the area is primarily private and residential, there are minimal facilities for entertainment and leisure activities. Situated along an existing bridge and dam, it provides a space for fishermen and other members of the community to prepare, cook, smoke and eat fish.

Y1.3 Cosmin Ticus ‘Rear Window’. Inspired by Alfred Hitchcock’s 1954 film, the project represents a reading of a room through light and the surfaces it interacts with.

Y1.4 Po (Tate) Mok ‘In Celebration of Children’s Literature’. The project develops the ethos of The Foundling Hospital in London and the Coram foundation through the construction of a reading pod and a set of climbing frames that act as an interchangeable façade.

Y1.5 Mateusz Zwijacz ‘The Fire-Prevention Centre in the Canopy’. The proposed building is located in Tatra National Park, southern Poland. It is designed as part of a building complex that aims to raise awareness among tourists about forest fires.

Y1.6 Chuhan (Paris) Feng ‘Rear Window: Emotion Islands’. Inspired by Alfred Hitchcock’s 1954 film, the project explores the relationship between inside and outside, and brings them together.

Y1.7 Zeynep Cam, Scarlet Fernandes, Ina-Stefana Ioan, Archie Koe, Chanya (Miu) Leosivikul, Sze (Christopher) Liu, Mayling Ly, Luiza-Elisabeta Oruc, Skylar Smith, Ilya Tchevela, Cosmin Ticus, Zaynah Younus, Shiyan Zhu, Mateusz Zwijacz ‘Wunderkammer’. A project composed of a series of sound installations inspired by the life, work and daily rituals of the Icelandic singer Björk.

Y1.8 Julia Rzaca ‘Community Centre for the Strzeszyn Literacki Area’. Located in Strzeszyn Literacki, Poland, the proposal consists of two main buildings, the smallest of which is a quiet space for the elderly. The building’s shape is tightly knit and features a significant amount of greenery.

Y1.9 Rauf Sharifov ‘Tea House’. The project is located in the city of Baku, Azerbaijan, in one of the Narimanov neighbourhoods. The building consists of two indoor tea huts and an outdoor courtyard that acts as a communal space for the residents of the neighbourhood.

Y1.10 Adam Butcher ‘The Tree Pod Loop’. A building on a footbridge that crosses over Bloodmoor Road in Lowestoft, Suffolk that blends distant views with the immediate landscape to create a place that brings the human experience into context through contemplation and the juxtaposition of near and far.

Y1.11 Myles Green ‘Rear Window’. The project investigates a leak in the ceiling of a bay window and explores surveying as a method to measure and investigate the transformative power of rainwater.

Y1.12 Zofia Lipowska ‘Rear Window’. The project explores how everyday objects – in this instance a sink – can become evidence of our actions.

Y1.13 Yutong (Sabrina) Li ‘Horse Chestnut Launderette for Canal and Land Lifestyles’. Situated by the Regent’s Canal in Kings Cross, London, is a launderette that is accessible for people who live on the canal and those living on the land. A horse chestnut tree is planted in the middle of the courtyard and symbolises the ecologically friendly system that substitutes the chemical detergent used in the launderette.

Y1.14 Julia Rzaca ‘Rear Window’. The project focusses on voyeurism, self-awareness, the observation of habits and the avoidance of others because of the Covid-19 rules.

Y1.15, Y1.18 Barbara Nohr ‘The Home for the Collective Memory of ‘Ox Town’s’ Displaced Commun.’ The project is situated in the Polish town of Wołów. The building is composed of a timber-frame structure and thatched roof native to the Eastern Borderlands, and was originally constructed by the community.

Y1.16, Y1.17 Cosmin Ticus ‘Marshalsea Bouldering Centre’. An outdoors and semi-outdoors bouldering facility in the centre of London. The building anchors itself to the last remaining wall of the Marshalsea Prison, extending into the courtyard of St George the Martyr. It activates both a deserted garden and a seemingly unsafe and dark alley.

Y1.19 Claudiu-Liciniu Horsia ‘The Bird Watching Tower’. The project is located in the heart of Transylvania, in central Romania, at the edge of a forest near the small village of Corneşti. The building is a tower dedicated to bird watching.

Y1.20 Rohini Mundey ‘Mushroom Cave’. The project is situated in St Chad’s Place, a quiet alleyway in Kings Cross, London. The alleyway is used as a space to sell homeopathic mushrooms for the Royal London Hospital for Integrated Medicine on Great Ormond Street.

Y1.21 Maisy Liu ‘Rear Window’. Inspired by Roy Andersson’s film sets and David Hockney’s collages, the project explores how multiple picture planes can be combined to create the illusion of a complete space.

Y1.22 Katie Kamara ‘Rear Window’. The project attempts to observe and codify interactions with changing states and obstacles that cause displacement while walking on Dartmoor in Devon.

Y1.23 Sophie Du Ry Van Beest Holle ‘Rear Window’. A transportable duvet that inflates. The inside space is designed to induce the same feeling of comfort one might feel at home.

Y1.24 Chuhan (Paris) Feng ‘A Composing Studio for Travel Composers, within a Botanic Garden’. A house and studio, located on Lützowplatz in Berlin, designed to bring back the site’s vitality and keep the spirit of its history alive. The main feature of the house is a garden for composers, which also acts as an open-air recital space in the summer months.

Y1.25 Sophie Du Ry Van Beest Holle ‘Papier-mâché ‘After School’ Club’. Located in the heart of Camden, London, on the corner where the high street and Regent’s Canal intersect. The building hosts afterschool papier-mâché furniture-making classes for local primary school children.

Meta-Morphosis: Ovid-Rome-Dalston Max Dewdney, Frosso Pimenides

Year 1 Students

Nasser Al-Khereiji, Timothy Alexander, Yasminah Alhaddad, Supitchaya (Praew) Anivat, Taro (Luke) Bean, Seb Bellavia, Tida Bitar, Nana Boffah, Bogdan Botis, Grace Boyten-Heyes, Emilia Bryce, Monika (Nina) Buranasetkul, Ana-Maria Cazan, Pui (Benson) Chan, Park (Jin) Chan, Zehao (Daniel) Chen, Yu (Colin) Cheng, Hei (Eunice) Cheung, Vanessa Chew, Oi (Tiffany) Chin, Chantelle Chong, Wei (Keane) Chua, Daniel Collier, Natalia Da Silva Costa Dale, Cosimo De Barry, Adnan Demachkieh, Laura Diekmann, Anna Dixon, Minh (Dominic) Do, Esme Dowle, Fangxingchi (Brendan) Du, Dylan Duffy, Andrew Fan, Samuel Field, Alannah Fowler, Arnold Freund-Williams, Gabriel Fryer-Eccles, Aaron Green, Holly Griffiths, Marten Hall, Eleanor Hollis, Maxwell Hubbard, Zubair Ibrahim, Leonard Ide, Yuto Ikeda, Jovan Jankovic, Jazzlyn Jansen, Ying Jintarasamee, Kyra Johnston, Sally Kemp, Veronika Khasapova, Gaeul Kim, Moe Kojima, Yi (Glory) Kuk, Yan (Johnson) Lam, Daniel Langstaff, Wei Lim, Kah Loh, Sean Louis, Adam Lynes, Luana Martins Rodrigues, Kai McKim, Jacob Meyers, Eleanor Middleton, Johanna Moro, Ayaa Muhdar, Junyoung Myung, George Neyroud, Natnicha (Amy) Ng Wen Yi, Chisom Odoemene, Esma Onur, Leonids Osipovs, Siqi (Suky) Ouyang, Zahra Parhizi, Nicolas Pauwels, Michalis Philiastidis, Krit Pichedvanichok, Clara Popescu, Jack Powell, Alexander (Sasha) Pozen, Rupert Rochford, Joseph Russell, Rafiq Sawyerr, Flavia Scafella, Eoin Shaw, Mufeng Shi, Zuzanna Sienczyk, Xavier Simpson, Thanan (Orm) Sivapiromrat, Josef Slater, Oska Smith, Adam Stoddart, Libby Sturgeon, Luke Sturgeon, Pasat (Proud) Sudlabha, Ying (Sunny) Sun, Zhelin (Simon) Sun, Jerzy Szczerba, Scott Tan, Hau (Charmaine) Tang, Kate Taylor, Yen Ting, Karla Torio-Rivera, Shannon Townsend, Nathan Verrier, Walinnes (Eir) Walanchanurak, Isobel Watson, Elise Wehowski, Henry Williams, Benjamin Woodier, Peixuan (Oli) Xu, Chan (Antonio) Yang, Yeung (Julie) Yeung, Joy You, Ron Zaum, Jiahui Zhang, Fangyi (Erica) Zhou

Meta-Morphosis: Ovid-Rome-Dalston

Frosso Pimenides, Max Dewdney

The first investigation of the theme of metamorphosis started by studying Ovid’s seminal poem. Nine stories from Ovid’s ‘Metamorphoses’ were translated and translocated into nine sitespecific temporary performative installations, exploring a series of transformations in between and within spaces of Walmer Yard in West London. The setting acted as a theatrical scene for the one-evening event. As architecture and its practice is hugely dependent on collaboration at all levels, the installation enabled students to cultivate this skill, while learning to interpret ideas and qualities and experiment with craft and fabrication.

The second phase was during our inspirational field trip to Rome – Ovid’s home – where the students had the chance to experience, draw, and translate the layers of the city through an analysis of various elements. All these explorations led us to an understanding of the city as a porous entity whose life and inhabitation is constantly in flux.

The third phase took place in Dalston, where students were located between Ridley Market and Dalston Junction (on an old Roman road). A number of infill sites gave the opportunity to continue the investigations of reuse, translocation, and transformation. Dalston has a rich history of farms, agriculture, charitable institutions, entertainment and railways.

The students engaged with the diverse community and the range of cultural traditions by working with the existing sites and developing scenarios of a range of programmes and occupations. In dialogue with the social, political, and environmental conditions, they enhanced and preserved the urban fabric by developing projects that animated and transformed the local life.

Halfway through the year, shortly after the site visits, the global pandemic transformed our lives and studio culture: students packed all their stuff overnight, left their Bartlett studios behind, embraced their memories as ammunition and dispersed all over the world, and our remote studio culture lives began. Within a week everything shifted online, going from a collective analogue studio and way of working and teaching into a mediated digital studio whilst retaining an analogue way of working. While this has created challenges, it has also brought us closer together and led us to discover a new intimacy and immediacy with architects, students and teachers, alumni, and friends from around the world. 2019-20 has been a rather extraordinary year in initiating our students to higher education and exploring what architecture is, might be, and can be. This new way of teaching, exploring architecture and exchanging ideas has made us see that by disturbing and interrupting our habits we can find opportunities to see forgotten values, qualities, and new possibilities.

Associates: Emmanouil Stavrakakis, Stefan Lengen, Gavin Robotham

Tutors: Alastair Browning, Joel Cady, Zachary Fluker, Maria Fulford, Alicia

Gonzalez-Lafita, James Green, Ashley Hinchcliffe, Vasilis Ilchuk, Fergus Knox, Stefan Lengen, Sonia Magdziarz, Laura Mark, Elliot Nash, Thomas Parker, Marcel Rham, Colin Smith, Jasmin Sohi, Emmanouil Stavrakakis

We would like to thank Dimitris Argyros, B-made, British School in Rome, Jason Brooks, Pascal Bronner, Emilia Bryce, Blanche Cameron, Barbara-Ann CampbellLange, Alan Ceen, Nat Chard, Laura Cherry, Fenella Collingridge, Peter Cook, Kate Darby, Edward Denison, Elizabeth Dow, Jane Gilbert, Emer Girling, Niamh Grace, Anderson Inge, Julitta Iranek Osmecka, Stephen Johnson, Carston Jungfer, Crispin Kelly, Carolina Kield, Katerina Kourkoula, Dragana Krsic, Roberto Ledda, CJ Lim, Alex de Little, Hannes Livers Gutberlet, Tim Lucas, Adam Lynes, Laura Mark, Niall McLaughlin, Josep Mias, Ana MonrabalCook, Don Onyido, Colin O’Sullivan, Luke Pearson, Sophie Percival, Jonathan Pile, Ulysses Pimenides

Whelan, Emily Priest, Alicia Pivaro, Aeili Roberts, Neba Sere, Alistair Shaw, Eoin Shaw, Bob Sheil, Harmit Soora, Catrina Stewart, Greg Storrar, TOPOS String Quartet, Kim Van Poeteren, Amy White, James Willis, Oliver Wilton

Y1.1 Group Installation Project, Y1 ‘Actaeon’. The installation is a translation of the myth of Actaeon from Ovid’s Metamorphosis. A cluster of crystal ice sculptures is suspended at the top of the stairwell of House A in Walmer Yard. As they melt, water drops fall in the narrow void of the staircase. They resume falling as they touch the striking brass cymbals which rest on a hand-beaten brass basin. The drops leave their trace as they erode the dark-green copper, revealing the golden brass.

Y1.2 Group Installation Project, Y1 ‘Narcissus’. The installation is a translation of the myth of Narcissus from Ovid’s Metamorphosis. The installation is comprised of three datum creating using different thin membranes. Each membrane transforms and utilises the courtyard through light and reflections, owing to their distance from one another. The materials and forms are based on tactility and the choreography of the performance centres around drawing together and pulling away. Imprints from the mould of the latex and the inversion of the same motif on the neckpieces and umbrellas relate to the idea that reflections are not the same as the real thing.

Y1.3 Group Installation Project, Y1 ‘Phaethon’. The story of Phaethon in Ovid’s poem describes the journey of an arrogant mortal boy who burnt the earth. The journey to the lower-ground floor of Walmer Yard is a translation of the hero’s journey. The visitor descends through a ramp into an enclosed space. This piece transforms the wall by mimicking its concrete pattern with ply strips. The two datum of strips heighten the viewer’s senses in the space: one creating an overhang above the head and the other mounted onto the wall.

Y1.4 Group Installation Project, Y1 ‘Arachne’. This web was born out of the story of Arachne from Ovid’s poem. Arachne is a girl who is transformed into a spider by the God Minerva when she challenges her to a weaving contest. Suspended by seven acrow props, these are designed to swoop through various levels, causing the observer to experience differences in size and proximity with relation to the room in Walmer Yard.

Y1.5 Group Installation Project, Y1 ‘Icarus’. In an attempt to escape from the labyrinth, Icarus and his father Daedalus decide to fly across the sea. Icarus flies too close to the sun, the sun melts his wax wings, plummets towards the sea, and meets his death. This installation explores concepts of verticality, falling, and perspective, highlighting the relationship between heavens and earth in the context of Ovid’s poem. The strings emphasise the scale of the void and the black fabric provides a medium for the wind and other elements to interact with the installation, whilst also uniting the space – that spans eight metres.

Y1.6 Group Installation Project, Y1 ‘Pygmalion’. According to Ovid’s poem, Pygmalion, disgusted by the promiscuous nature of the women in Cyprus, sculpts a perfect woman in ivory called Galatea, which Venus transforms into a live woman. A series of inviting structures manipulate the position of the body to both constrain movement and restrict the view to contemplate the yurt room in Walmer Yard. At the centre of the space is a swinging light controlled by a draining weight aiming to disorient the viewer.

Y1.7 Group Installation Project, Y1 ‘Echo’. Stalking, hiding, reaching, despair: these are Echo’s postures as she trails Narcissus through the forest. Projection, shadows and refraction are the visual echoes, repeating what came before. The four postures fill the centre of the space, a performance stage for the story of echo trailing Narcissus through the forest. Each posture of Echo is echoed in the bodies of the performers, from the hope of a crush, to death by the anguish of rejection.   Y1.8–Y1.10 Collective, Y1 ‘Studio Culture’. The studio culture is dispersed around the globe. The collective and the intimate coexist in our rooms, in our screens, and in our minds.

Y1.11 Josef Slater, Y1 ‘Weaver’s Studio’. The Weaver’s Studio is an extension to a preexisting carpet shop on Ridley Road, leaving the storefront untouched and providing the spaces required for the weaver to work and live on the site. Instead of disturbing the market, the programme adds to an established amenity while emphasising the market’s atmosphere.

Y1.12 Jacob Meyers, Y1 ‘The Ridley Road Market Workshop’. Housing workshop facilities, a common room and living spaces for a craftsman-in-residence, the workshop would allow market stall-owners to refurbish and customise their stall carts. The workshop mimics the market’s time-based changes: flaps physically open and close the building over the course of the day.

Y1.13 Samuel Field, Y1 ‘The Fabric Enterprise’. The fabric enterprise was inspired by an clothes market stall observed in Ridely Market. A t-shirt-making, fabric screen-printing, and launderette space building run by one occupant who also lives there, spans two terraces united by a bridge.

Y1.14–Y1.15 Esme Dowle, Y1 ‘Dalston Spice Bazaar’. The spice bazaar fully facilitates and exaggerates the spice production process by allowing one to inhabit the oversized machinery and experience the oscillating conditions of the journey that both produce and the viewers simultaneously go through.

Y1.16, Y1.23 Emilia Bryce, Y1 ‘Paper-Making Studio’. A studio located at the heart of Ridley Road Market specialising in the recycling and reforming of paper using traditional techniques. Dalston has its own rich history of making and manufacturing. Paper is recycled from old unused paper rather than being made from limited local plant material.

Y1.17–Y1.18 Wei (Keane) Chua, Y1 ‘The Dining Room’. Situated in Ridley Market, the Dining Room provides cooking facilities for both vendors and customers to use. At the top is a rooftop garden where simple vegetables, tea leaves and spices can be planted and grown by thecommunity, to be sold or traded and consumed.

Y1.19, Y1.22 Kai McKim, Y1 ‘Ridley Road Cinema’. To combat the market’s decline, this building provides an indoor cinema as well as a large outdoor screen for the people of Dalston. This creates a vibrant nightlife attracting locals and visitors to watch films from the terraces on the roof or the street itself encouraging shops to stay open later and stimulate the local economy.

Y1.20 Yeung (Julie) Yeung, Y1 ‘Ridley Road Chicken House’. The building is designed for a retired couple who raise chickens as a pasttime, and aims to challenge the living mode in an urban context. Sitting on top of an existing shop, the house dissolves the boundaries between public and private, commercial, and residential.

Y1.21 Oska Smith, Y1 ‘A House for the Local Handyman of Dalston’. The project is designed for a handyman who lives in his own self-made home that includes workshop spaces along with lots of space to satisfy his hoarding obsession. Through continual reworking, the building undergoes a transformation over time, growing in its uses and size.

Y1.24 Eoin Shaw, Y1 ‘Association of Enthusiasts of the North London Line (AENLL) Clubhouse’. This is a project for a group of trainspotters, their paraphernalia, and a living space for the owner, Allen. The site sits on the railway embankment behind the market. The building sits between two cranes and consists of a long corridor acting structurally like a beam connected to the cranes, and wrapped in ETFE bubbles, providing insulation and natural lighting.

Islands of Ground and Water Max Dewdney, Frosso Pimenides

Year 1 Students

Nasra Abdullahi, Blenard Ademaj, Finlay Aitken, Sahba Akbar, Noor Alsalemi, Ivy Aris, Anna Arzumanyan, Grace Baker, Eirini Bargiotaki, Selin Bengi, Thomas Bloomfield, Rory Browne, Sophia Brummendorf Malsch, David Byrne, Zijie Cai, George Capstick, Yiu Cham, Ling Fung Chan, Latisha Chan, Sum Chan, Wai Chan, Sharukan Chandrarajan, Xintong Chen, Zixi Chen, Ho Cheung, Silvan-Mihai Cimpoesu, John Clayson, Christian Coackley, Helen Cope, Crina Croitoriu, Chelsea Faith Dacoco, Benjamin Dewhurst, Andrei Dinu, Ioana-Maria Drogeanu, Anna Duff, Thuc Duong, Tyler Ebanja, Irene Entrecanales, Lavinia Fairlie, Marie Faivre, Benjamin Foulkes, Beatrice Frant, Maria Garrido Regalado, Alfred Gee, Jina Gheini, Matilda Grayson, Conor Hacon, Megan Hague, Guiming He, Tsz Ho, William Hodges, Eleanor Hollis, Rhiannon Howes, Serim Hur, Zubair Ibrahim, Barnabas Iley-Williamson, Megan Irwin, Angharad James, Ruoxi Jia, Yushen Jia, Thomas Keeling, Jack Kinsman, Anna Knapczyk, Moe Kojima, Evgeniya Kulakova, Mankiran Kundi, Alvin Lam, Jasmine Lam, Lucas Lam, Jacqui Lee, Ling (Stefanie) Leung, Minhe Li, Betty Liang Peng, Yutong Luo, Harrison Maddox, Sara Mahmud, Neelam Majumder, Charis Makmurputra, Luana Martins Rodrigues, Harris Mawardi, Luke McMahon, Wiam Mostefai, Parin Nawachartkosit, Mungeh Ndzi, Carmen-Theodora Noretu, Yasmin North, Kun Pang, Sirikarn Paopongthong, Asya Peker, Ioana Petre, Morgan James George Pollard, Rebecca Radu, Katherine Ralston, Elijah Ramsay, Shyem Ramsay, Michael Rossiter, Jackson Saez, Tharadol Sangmitr, Alexandra Sapte, Xin Seah, Kirsty Selwood, Mariia Shapovalova, Ewan Sleath, Tatiana Smith, Jamie Stuart, Reem Taha Hajj Ahmad, Sharon Tam, Scott Tan, Gregorian Tanto, Lion Tautz, Supawut Teerawatanachai, Karla Torio Rivera, Hei Tse, Joanna Van Son, Fergal Vorsanger-Brill, Prim Vudhichamnong, Eloise Joanne Walders Searle, Jiayi Wang, Tianpei Wang, Yuqi Wang, Jeffrey Wen, Oscar Wood, Xiaotan Yang, Zhi Yu, Kaiyi Zhang, Leyun Zhu

Islands of Ground and Water

Co-Directors: Max Dewdney, Frosso Pimenides

The first year at The Bartlett is a transformative process for students to look afresh at the world and develop a collective spirit that encourages an exchange of ideas, skills and cultures.

The theme for the year was ‘Islands of Ground and Water’, exploring the shifting relationship between natural, urban and rural contexts, and how the placement and inhabitation of buildings within a city can have an impact on the world beyond their site. Islands are natural formations whose form questions the condition of ‘the edge’, accessibility and the relationship between ground and water.

The sites of investigation were Venice and East London. Students examined and speculated on the relationship that both cities have to the water, and began the year with a project that introduced them to surveying a fragment of a building and re-examining the real, the possible and the imagined.

Our installation projects are always based on the juxtaposition of an existing context and a thematic intervention. They aim to temporarily ‘adjust’ a familiar place into something strange and extraordinary. This year, they took place on the Lea Navigation in East London, where students designed and built six temporary installations that adjusted the context of the canal, and culminated in an event at the local community centre.

We then travelled to Venice, where we explored six themes: light and water; placement; route, view and vista; negotiation of water; and ground and water. The project served as a bridge between the installation and the main building project.

Following the theme ‘Islands of Ground and Water’, the main building project explored the dual conditions of ‘urban’ and ‘rural’ on the Isle of Dogs. Through the design of a small building, students questioned: ‘What is rural?’ and ‘What is urban?’. The selected sites sit on the edge of the Isle of Dogs on the River Thames in London, and students were invited to investigate the different ways in which the ground met the water. The design strategy followed principles of ‘architectural acupuncture’, whereby projects acted as urban incisions that bridged the isolation, privacy, lack of community and life on the site. Just like acupuncture on the body, micro-interventions in the city have a wider impact that addresses the context beyond the footprint of the sites.

During the nine-month lifespan of our first-year studio, students are encouraged to engage with design exploration and undertake a journey that treats failure and success as equally crucial. ‘Dreaming the impossible and building the extraordinary’ is the underpinning philosophy of the year. Students are encouraged to embrace and celebrate the struggles of the design process, to be optimistic, to be daring, and to have fun.

Associates: Lucy Leonard, Gavin Robotham, Jasmin Sohi, Emmanouil Stavrakakis

Tutors: Alastair Browning, Joel Cady, Zachary Fluker, Alicia Gonzalez Lafita Perez, Stefan Lengen, Samantha Lynch, Thomas Parker, Marcel Rahm, Colin Smith, Jasmin Sohi, Emmanouil Stavrakakis

Thanks to: Dimitris Argyros, Abigail Ashton, Julia Backhaus, Pascal Bronner, Andy Bryce, Barbara-Ann Campbell-Lange, Marcus Cole, Elizabeth Dow, Julika Gittner, Tamsin Hanke, Simon Herron, Thomas Hillier, Susanne Isa, Will Jefferies, Fergus Knox, Chee-Kit Lai, Laura Mark, Ana Monrabal-Cook, Chiara Montgomerie, Elliot Nash, Jack Newton, Brian O’Reilly, Ralph Parker, Luke Pearson, Theo Petrochilos, Jonathan Pile, Gill Scampton, Sara Shafiei, David Shanks, Neil Spiller, Matthew Springett, Jerry Tate, Nick Tyler, Afra Van’t Land, Viktoria Viktorija, Patrick Weber, Simon Withers, Paolo Zaide

Special thanks to: Matt Bowles, Nat Chard, Peter Cook, Niamh Grace, Jordanna Greaves, Jonathan Hill, Owen Hopkins, Steve Johnson, Perry Kulper, CJ Lim, Níall McLaughlin, Jeremy Melvyn, John O’Driscoll, Alan Penn, Uilleac Pimenides, Indigo Rohrer, Joseph Rykwert, Bob Sheil, Gillian Smith, Harmit Soora, Phil Tabor, Elizabeth Thornhill, Paul Weston, James Willis

Y1.1 Group Installation Project ‘Below Venice’. This ceiling made of latex includes aspects of Venice (the water) and London (the ground). A map of Venice is transferred onto the latex surface, with different scales to highlight land and water ratios. Parts of the map are composed using writing found on historic trading maps highlighting the city’s trading pasts.

Y1.2 Finlay Aitken‘Music Below Venice – The Landscape City’. This is a hybrid drawing of two projects: a topographic exploration of how cities can share a hillside with nature, uncovering different levels of natural occupied space, and an intimate pool of sounds below the Venetian skin.

Y1.3 Xiaotan (Alex) Yang ‘Farmers’ Market and Teahouse’. A multifunctional farmers’ market sits on top of a viaduct in the Isle of Dogs. Through the changing components of the design, the space changes into a teahouse and a dining room.

Y1.4 Supawut Teerawatanachai ‘Campo Santa Maria Formosa Reimagined’. The routes of a tourist, fish seller and birds are mapped towards the Campo Santa Maria Formosa square in Venice. This model interprets the interaction between each group of users and the city elements of Venice.

Y1.5 Anna Arzumanyan ‘Jazz Club with Music Practice Rooms’. The language of the building is taken from jazz improvisation. The colour scheme follows the jazz club aesthetic. The journey to the club under the lightwells, which change colour throughout the day, creates a unique spatial effect.

Y1.6 Ivy Aris ‘The Parrhesia Forum and Kitchen’. The building acts as a membrane between those who wish to donate food to the collective kitchen, fuelling the idea of community, whilst simultaneously offering those who feel marginalised the opportunity to cook for themselves and others, whilst engaging in the Ancient Greek concept of parrhesia (speaking candidly).

Y1.7 Kirsty Selwood ‘Light through Water – An Element of Venice’. Inspired by the water and light conditions observed in Venice, the wax cube acts as a lightbox to create an atmosphere that can reflect off the model inside.

Y1.8 Barnabas Iley-Williamson ‘The Pickling Island’. A trench extends into the River Thames, keeping jars of produce cool, whilst cooking and dining areas overhead provide a communal place to rest and share food.

Y1.9 Joanna Van Son ‘Bathhouse Amidst Ruins’. The project takes the decaying conditions of the slipway and the Victorian concept of the terracotta bathhouse (and communal bathing) to reconnect the community to their bodies and each other. The bathhouse combats individual and communal alienation and disconnection.

Y1.10 Reem Taha Hajj Ahmad ‘Marionette Theatre and Workshop’. This project presents a marionette theatre with a lemonade and lollipop kiosk, a workshop for primary school children and a puppet-maker. The building is formed through the inhabitation of suspended frames that respond to the tides and the wind onsite.

Y1.11 Ruoxi (Cici) Jia ‘Gut-It House: Sheep’s-Gut String Workshop’. The building emphasises the idea of ‘stretchiness’ and uses traditional sheep’s-gut violin strings. It applies the idea of extendable stretchiness to the form of the building and allows elements to be stretched from the main spaces along the slipway. The building consists of both the making and living spaces for a string-maker.

Y1.12 Christian Coackley ‘The Bike Hangout’. The building acts as a hub for isolated young cycling enthusiasts who want to meet others, work on their bikes, and find a sense of belonging on the Isle of Dogs. The users are looked after by Manny, the building’s caretaker, who encourages them to source bike parts locally and bring them back to the Bike Hangout.

Y1.13 Benjamin Foulkes ‘Optical Acupuncture: Home for a Photographer’. The building brings the outside world into the space through the use of pinhole light apertures, turning rooms into camera obscuras. Photographic paper lines the interior surfaces, capturing the images before they are developed in the photographer’s darkroom. The building is occasionally open to the public as a place of observation.

Y1.14 Group Installation Project ‘Lagoon’. Eight floating ‘islands’ and three towers are designed as a response to the urban landscape of the Venetian lagoon. This new landscape aims to respond to the movement of the water: it moves when the water moves. This movement is signified by a small bell attached to the structures. Each tower has a small container within it, which is filled with fog, as a commentary on the weather of Venice and London.

Y1.15 Group Installation Project ‘Rusting Ruskin’. This installation explores an exchange between the exterior and interior spaces of a community centre. Inspired by the unique waterways of both Venice and London, an instrument amplifies and transfers the soundscape of the Lea Navigation – whose banks lie adjacent to the walls – into this particular corridor.

Y1.16 Group Installation Project ‘Irrigational Tool’. In London and Venice the water merges with the inhabited land. This project refers to a pile structure, like the one Venice was built upon, which holds an unusual irrigation tool. Its form is inspired by traditional Venetian rowing boats. Its naked skeleton attracts the attention of the observer and is used to reveal what is hidden in the water landscape.

Y1.17 Group Installation Project ‘Lollipop Shields’. Staking a claim upon the ground of Hackney Wick, this installation is a portal between modern-day London and 19th-century Venice; specifically the siege of 1848 and the victory of the Venetians over Habsburg imperial rule. Here, shields pierce the ground like billowing flags perforating the canalside.

Y1.18 Xiaotan (Alex) Yang ‘Shifting Venice’. An exploration of the spatial relationship between the floating city of Venice and unpredictable water levels. Fragments of Venetian façades are recollected from memory to construct a journey.

Y1.19 Kaiyi (Kelvin) Zhang ‘The Real, the Possible and the Imagined’. This drawing is composed from memories of inhabited rooms, unused doors and windows, which blend in with fragments from the present-day Hoxton Docks.

Y1.20 Xin (Sean) Seah ‘Unearthing Thames Embankment’. The unearthed Thames Embankment and Thames Path have been integral in connecting communities; though the embankment itself creates a division, distancing people from the wildlife that resides there at low tide. This project connects these two vastly different worlds: a blacksmithing workshop forges bird baths from flotsam and jetsam deposited along the riverbank.

Y1.8

Y1.9

Collective Journeys –Inhabiting Spitalfields

Frosso Pimenides

Director Frosso Pimenides

Design Associates

Lucy Leonard, Gavin Robotham, Manolis Stavrakakis

Design Tutors

Alastair Browning, Zachary Fluker, Alicia Gonzalez-Lafita, Joel Cady, Vanessa Lafoy, Stefan Lengen, Lucy Leonard, Samantha Lynch, Emma-Kate Matthews, Rupert Scott, Jasmin Sohi, Manolis Stavrakakis, Graeme Williamson, Umut Yamac

Lectures

Nat Chard, Peter Cook

Media Studies Tutors

Joel Cady (Coordinator), Johanna Just, Stefan Lengen, Agostino Nickl, Thomas Parker

Special thanks to: Izzy Blackburn, the B-made team, Peter Cook, Paul Crudge, Emer Girling, Roberto Ledda, Ric Lipson, Oliver Phoenix, David Shanks, Bob Sheil, Viktoria Viktorija, Paul Weston

Partners

B-made workshop, Survey of London

Thank you to: Jenna Al-Ali, Laura Allen, Dimitri Argyros, Abigail Ashton, Andy Bryce, Blanche Cameron, Barbara Campbell-Lange, Nat Chard, Jennifer Chen, Hannah Corlett, Edward Denison, Richard Jeffries, Stephen Johnson, Christine Hawley, Johan Hybschmann, CJ Lim, Jeremy Melvin, Jack Newton, Luke Pearson, Jonathan Pile, Alistair Shaw, Colin Smith, Nick Westby, Patrick Weber, Guang Yu, Paolo Zaide

Collective Journeys –Inhabiting Spitalfields

Director: Frosso Pimenides

The journey that students make in their first year at The Bartlett is an extraordinary one. Arriving from all over the world, they are encouraged to learn skills and enter the world of ideas and creativity, whilst forming a collective spirit of generous critical collaboration with their peers.

This year began with an individual observational and experimental project ‘Routine Object, Displaced Routine’, where students examined the displacement of personal domestic routines as they settled into university life. This was followed by a day trip to Chatham Dockyard where we sketched structures and studied forming techniques in preparation for the group making project. For this, we designed and constructed nine full-scale installations to form a ‘City in a Room’ in The Bartlett’s ground-floor gallery. In January we travelled to Berlin for our field trip, which was a great source of inspiration and culture. Highlights included visits to Hans Scharoun’s Berlin Philharmonie and a day trip to Wolfsburg where we experienced some extraordinary architecture by Alvar Aalto and Zaha Hadid. On our return, we launched into our individual building design project.

The historic neighbourhood of Spitalfields in East London, famous for its weavers’ garrets and markets, was both the site for the building design project, and the inspiration for the installation project. Spitalfields has been home to waves of immigrants from Europe and beyond, who have enriched the character of the area with their skills and cultures. For ‘City in a Room’ we worked in nine groups, each designing and making an installation inspired by the life of a displaced character from the history of Spitalfields.

We were inspired by the craft skills and philanthropic spirit that students uncovered as they researched these characters. In designing ‘A Building for Spitalfields’, students developed this legacy to respond individually, critically and imaginatively to the needs of the local community. We designed live/work spaces for imagined clients, providing useful skills, services or social spaces for the community on 14 sites located across the neighbourhood. Designs were based on radical responses to the programmes and character of the sites and emerged through an open dialogue between imagination and the realities of the place. The project was an opportunity for the students to explore the importance of context, enclosure, and the spatial qualities and materiality of their proposed vision.

The life of our first-year students is a continuous process of testing, questioning, rethinking and visually communicating a series of design explorations, as part of a vibrant studio culture. It is a journey of learning skills and knowledge that gives students the tools to think, experiment, make mistakes and celebrate their failures – and finally, to have fun designing.

The Bartlett School of Architecture 2018

Students

Nasra Abdullahi, Hania Abramowicz, Inez AcquahAikins, Maciej Adaszewski, Ahmed Al-Shamari, Renee Ammann, Tisha Aramkul, Shabnam Aswat, Long Au, Marius Balan, Hazel Balogun, Alisa Baraboshkina, Jean Bell, Dominic Benzecry, Tengku Sharil Bin Tengku Abdul Kadir, Heather Black, Albert Brown, Emma Bush, Niamh Cahill, Rory Cariss, Charlotte Carr, Lok (Recina) Chau, Herui (Henry) Chen, Yuge (Julie) Chen, Ernest Chin, Giorgos Christofi, Charlotte Cole, Nicholas Collee, Peter Cotton, Sonya Daniltseva, James Della Valle, Samuel Dodgshon,

Ana Dosheva, Christina Economidou, Ceren (Jeren) Erten, Maria (Masha) Gerzon, Isabelle Gin, Eudon Gray Desai, Daniel (Eytan) Grubner, Alice Guglielmi, Yannick (Ocian) Hamel-Smith, Gabriel Healy, Kevin Ho, Dinu Hoinarescu, Rebecca Honey, Anahita (Ani) Hosseini Ardehali, Olivia Hoy, Sumayyah (Mayah) Jannat, Evelyn Jesuraj, Marina Kathidjiotis, Henri Khoo, Yeree Kim, Ye (Yeha) Kim, Edmund King, Defne Kocamustafaogullari, Paul Kohlhaussen, Monika Kolarz, Dilara Koz, Cheuk (Felix) Lau, Ashley Law, Dongheon (Julian) Lee, Oscar Leung, Zeb Levoi, Sabrina Li, Zicong (Charles)

Liang, Seng (Aaron) Lim, Ian Lim, Ziwei (Philip) Liu, Sut (Eunice) Lo, Jiying Luo, Mabel McCabe, Aaliyah Mckoy, Luke McMahon, Maria Mendoza Guerrero, Loukis Menelaou, Rebecca Miller, Heba Mohsen, Michela Morreale, Oliver Munby, Ben Murphie, Diana Mykhaylychenko, Ellen Nankivell, Jennifer Oguguo, Zaneta Ojczyk, Cira Oller Tovar, Evan O'Sullivan, Punnapa (Poon) Pairojtanachai, Jingxian (Jacqui) Pan, Freya Parkinson, Konrad Pawlaczyk, Amy Peacock, Carmen (Ligie) Poara, Natalie Rayya, Zuzanna (Zuzia) Rostocka, Joshua

Rothwell, Ewa Roztocka, Hanna (John) Said, Sarfaraz Salim, Evelyn Salt, Barbara Sawko, Matthew Semiao Carmo Simpson, Alice Shanahan, Hanlin (Finn) Shi, Olivia Shiu, Martins Starks, Josef Stoger, Anastasiia Stoliarova, Theo Syder, Natalia Sykorova, Chak (Anthony) Tai, Milon Thomsen, Rosy Todd, Luke Topping, Long (Ron) Tse, Kar (Tiffanie) Tseng, Sinziana Vladutu, Yunzi (Zoe) Wang, Chueh-Kai (Daniel) Wang, Yerkin (Eric) Wilbrandt, Oscar Wood, Kehui (Vic) Wu, Yujie Wu, Suzhi Xu, Sevgi Yaman, Siyuan (Amy) Yao, See (Phylis) Yu, Wenxi Zhang, Amy Zhou

Fig. Y1.1 ‘City in a Room: A City of Garrets and Markets in a Room’. Year 1 Spitafields Installation Project. Spitalfields has been home to waves of immigrants from Europe and beyond. This collection of individual cultures brought together in London is a form similar to all our Year 1 students joining the course from all over the world. The nine individual installations, inspired by nine displaced characters from the history of Spitalfields, came together to form a ‘City in a Room’ in the foyer of The Bartlett. Fig. Y1.2 Anahita (Ani)

Hosseini

Ardehali ‘The Secretive Cobblers’. A symbiotic relationship is fostered between the cobbler and the client as their two routes intertwine within the building. The client must use all their senses to infer the process of shoemaking, whilst the mysterious cobbler designs the client’s shoes through

watching them as they walk through. Figs. Y1.3 – Y1.4 Ernest Chin, Seng (Aaron) Lim ‘Routine Comforts’. Suits that analyse the mechanisms of sleep and wake by replicating comforts of the bed outside of context; the bolster (left), and the duvet (right). Fig. Y1.5 Isabelle Gin ‘Infestation’. A reinterpretation of the loom as a silkworm’s habitat. Different components relate to various stages of the silkworm’s lifecycle, the thread as spun silk and the weights as cocoons.

Fig. Y1.6 Maciej Adaszewski ‘Beekeeping Club’. Adjustable façade elements provide the best sunlight exposure for the bees, protecting them from prevailing wind. Light wells made of brass bring natural sunlight down into the building to illuminate shaded areas. Because of its spatially open character, the building simultaneously serves as a shelter for club members and as a simple filter for the bees to fly through. Fig. Y1.7 Rebecca Miller ‘A House for Paul, the Oldest Paper Bag Seller of Spitalfields, and his Fellow Independent Traders’. Here, amate, traditional bark paper, is made as a celebration of community-based trade. The sounds of the paper-making process are a cry from the independent traders, whose businesses are threatened by the growing gentrification of Spitalfields. Fig. Y1.8 Mabel McCabe ‘Vertical Launderette,

a Rejection of the Modern Washing Machine’. Laundry is washed in outdoor pools and brought through the building on pulleys as it dries. A wooden structure sways gently as both fabric and people move freely throughout a building fully centred around the traditional washing process that the owner grew up surrounded by.

0.0 Y1.6

The Bartlett School of Architecture 2018

The Bartlett School of Architecture 2018

Figs. Y1.9 – Y1.10 James Della Valle ‘A Home for Silk Printing’. The silk printer’s house is a celebration of the local community’s heritage, influenced by extensive experimentation with fabric formwork. The drawn section and planimetric model describe the fluid façades of the building and the spatial interplay between the draping silks within and the exterior concrete walls. Fig. Y1.11 Joshua Rothwell ‘Alleyway Pigeon Postal Service’. The public’s handwritten letters ascend the building’s vertical sorting system before ceremonial release from an exposed west-facing balcony. Locals and commuters can reminisce of a time past, as flocks of carrier pigeons gracefully flit through the post office’s transitory spaces, before scattering to destinations across London. Y1.9

of individual cultures brought together in London is a form similar to all our Year 1 students joining the course from all over the world. The nine individual installations, inspired by nine displaced characters from the history of Spitalfields, came together to form a ‘City in a Room’ in the ground-floor gallery of The Bartlett.

1 The Bartlett School of Architecture 2018

The Bartlett School of Architecture 2018

Occupying Routes: from the City to the Valley Frosso Pimenides

Director Frosso Pimenides

Design Associates

Carlos Jiménez Cenamor, Gavin Robotham, Emmanouil Stavrakakis

Lecture Series

Nat Chard, Peter Cook

Fabrication Consultant Emmanuel Vercruysse

Installation Consultants

Indigo Rohrer, Nick Westby

Media Studies Tutors

Joel Cady, Danielle Hodgson

Design Tutors

Fenella Colingridge, Stefan Lengen, Ifigeneia Liangi, Rebecca Loewen, Thandi Loewenson, Emma-Kate Matthews, Brian O'Reilly, Eva Ravnborg, Farlie Reynolds, Umut Yamac

Partners B-made workshop, CRAB studio

Thank you to:

Jenna Al-Ali, Will Armstrong, Michael Arthur (UCL President and Provost), Julia Backhaus, Blanche Cameron, Mario Carpo, Nat Chard, Peter Cook, Stewart Dodd, Emma Flynn, Adrian Forty, Christine Hawley, Daniel Howarth, Richard Jeffries, Mary Johnson, Stephen Johnson, Lilly Kudic, Saskia Lewis, CJ Lim, Phil Medowcroft, Jack Newton, Alan Penn, Jonathan Pile, Juliet Quintero, Bob Sheil, Colin Skeete, Emmanuel Vercruysse, Patrick Weber, Gwendoline Webber, Paul Wenston, Nick Westby, Nick Wood, Paolo Zaide

Occupying Routes: from the City to the Valley

Director: Frosso Pimenides

Initiating students into civic life and the world of architecture is the foundation of their education in the first year. Students are encouraged to develop their personality, learn skills, enter the world of ideas and cultivate creativity. Communicating ideas and expressing one’s imagination through drawing and making is our main intention. A series of experiments and a group project led to an individual building project situated in East London’s Lea Valley.

The year started with a group fabrication project, ‘Return and Reinstall’, a celebration of a pivotal moment in the life and tradition of the School. It comprised three parts: a bonfire of old models, marking our departure from 140 Hampstead Road; a procession of 125 students transporting archived models back to our new home at 22 Gordon Street; and finally, installing these models to mark the start of a new era.

The field trip to Northern Italy was a great source of inspiration and collective culture as students were exposed to some of the world’s most influential buildings and places. By surveying a small fragment of Bologna, students immersed themselves in a different culture that they then interpreted via their own personal understanding.

The ‘Live-Work’ building project, located in Lea Valley, was an opportunity to explore the importance of ‘context’, enclosure, spatial qualities and the materiality of a proposed vision. The project was a vehicle for students to explore their own inspirations and focus on their own interests. A series of sites were chosen adjacent to the River Lea and Olympic Park area. Each student was asked to explore and understand the character of a site and inhabit it through a proposed story (each student’s personal programme) that established a dialogue with the surrounding area.

The life of our first year students is a continuous process of testing, questioning, rethinking and visually communicating a series of design explorations over the course of a year, as part of a vibrant studio culture. It is a journey of learning skills and knowledge that give students the tools to think, experiment, make mistakes and celebrate their failures – and finally, to have fun designing.

The Bartlett School of Architecture 2017

Students

Nasra Abdullahi, Vitika Agarwal, Temilayo Ajayi, Mohammad Aldoori, Alp Amasya, Jahba Anan, Basil Babichev, Daeyong Bae, Danheng Bai, Alexander Balgarnie, Danya Barysnikov, Sadika Begum, Sheryl Beh, Victoria Blackburn, Vladyslav Bondarenko, Ted Bosy Maury, Anna Cabanlig, Maria Castello, Jason (Chun) Chan, Kelvin (Kai) Chan, Terry (Weiting) Chen, Kyrah Issariyaporn, Viktor (Hiu) Chow, Pearl (Yu) Chow, Chris Collyer, Andrew Cowie, Kasia Dabrowska, Sofya Daniltseva, Elizabeth Day, Bengisu Demir,

Maria De Salvador Arnaiz, Imogen Dhesi, Amanda Dolga, Joe Douglas, Benedict Edwards, Miles Elliot, Charlotte Evans, Nanci Fairless Nicholson, Wan Feng, Georgia Green, Migena Hadziu, Bijou Harding, Eleanor Harding, Celina Harto, Holly Hatfield, Karl Herdersch, Yvonne (Yu-Wen) Huang, Abe (Zhongliang) Huang, Noriyuki Ishii, Maria Jones Delago, Peter (Yuen) Kei, Amy Kempa, Karishma Khajuria, Megan King, Sharon (Ting) Lee, Anson (Yiu) Lee, Kit Lee-Smith, Clement Le Pelley, Frances Leung, Yen (Su) Liew, Angel Lim, Jiana

Lin, Jessica (Chit) Liu, Joicy (Pinyi) Liu, Hugo Loydell, Aurelia (Yixuan) Lu, Francis Magalhaes Heath, Emily Mak, Diana Marin, Kai (James) McLaughlin, Luke McMahon, Owen Mellett, Zakariya Miah, Lucy Millichamp, Indran Miranda Duraisingam, Marcus Yang Mohan, Heba Mohsen, Emilie Morrow, Nandinzul Munkhbayar, Drew Murphy, Carlota Nunez-Barranco Vallejo, Chinwe Obi, Harriet Orr, Mimi Osei-Kuffuor, Szymon Padlewski, Maria Petalidou, Muyun Qiu, Yue Ren, Joshua Richardson, Thomas Richardson, Alessandro Rognoni, Thomas

Roylance, Imogen RuthvenTaggart, Malgorzata Rutkowska, Tao Shi, Luke (Hyosub) Shin, Faustina Smolilo, Baldeep Sohal, Connie Stafford, George Stewart, Olivia (Yaqi) Su, Eugene (Wei) Tan, Hau Tang, Anabelle Tan Kai Lin, Luke Topping, Tom Ushakov, James Van Caloen, Arina Viazenkina, Benjamin Webster, Maya Whittfield, Yerkin Wilbrandt, Jake Williams, Ryan (Sung) Wong, Bill (Chuzhengnan) Xu, Venessa Yau, Simon (Zifeng) Ye, Miki (Yue) Yu, William Zeng, Moe (Mengxuan) Zhao, Yanmin Zhang

Fig. Y1.1 ‘RE-TURN, RE-INSTALL’. Year 1 installation project. Studios 7 and 9: A series of garments placed in the void of the stairwell, holding artefacts and relics from the past. Fig. Y1.2 ‘RE-TURN, RE-INSTALL’. Year 1 installation project. Studios 2 and 6: A landscape of boxes opens up to reveal maps from the history of the Euston area, while a series of heads interacts with the city’s diversity, weather and tempestuous movement. Fig. Y1.3 Charlotte Evans ‘A Fish Restaurant in the Canal’. A series of tunnels disperses smells into the surrounding area and allows the movement of cats to remain separate from areas of public use. The cohabitation of the humans and the animals living at different scales initiated the design. Fig. Y1.4 ‘RE-TURN, RE-INSTALL’. Year 1 installation project. Bonfire of old relics set in the courtyard of 140 Hampstead Road to

initiate the procession. Fig. Y1.5 ‘RE-TURN, RE-INSTALL’. Year 1 installation project. Studios 7 and 9: Fragment of the ‘tickler’ mechanism. Fig. Y1.6 Abe (Zhongliang) Huang, ‘Artefacts’ Stories’. Mapping the story of an old model.

The Bartlett School of Architecture 2017

Fig. Y1.7 Amanda Dolgā, ‘Kinetic Clock of the Watchmaker’s Tower’. A combined drawing of 1:100 rotational plans and morphing elevations of the building’s façade that visualises the changes over time in the exterior of the house, whilst emphasising and highlighting the shifting thresholds within the tower, thus providing different window frames which allow the resident a unique experience of the surroundings throughout the year. Fig. Y1.8 Basil Babichev, ‘Beekeeper’s Sanatorium’. The project involves bees colonising spaces beneath a bridge. Variations start as gestural models but conclude with more logic. As colonies diminish, the architecture thins from the core. Inside, wax and bee nutrients are processed and shared with the public. Fig. Y1.9 Malgo Rutkowska, ‘Bologna Site Survey’. Shadow emphasising façade of Palazzo del Podesta

in Piazzo Maggiore. Fig. Y1.10 Jake Williams, ‘Vinyl pressing plant and record archive’. The building is composed of a series of niches that follow the ritual associated with vinyl record-pressing machines. The public observe the machines from below whilst experiencing the growth of the record archive that extends down the canal. The machines are semi-exposed, allowing the weather to affect them over time.

The Bartlett School of Architecture 2017

Fig. Y1.11 Noriyuki Ishii, ‘House for Cinematographer’. Outdoor public projection space for film screenings, montage room and archive. A layered composition of screens and staircases frames the site. The living space occupies the back of the projection screen. Fig. Y1.12 Tom Richardson, ‘House for a Fabric Dyer’. Living and working are intimately connected with each room, serving both domestic and industrial purposes. In the kitchen, plants from along the Lee Navigation are turned into natural dyes and poured into the dye baths. Rolls of fabric thread through the building into the dye pools before being dried above the canal. Fig. Y1.13 Ted Bosy Maury, ‘Over the Edge: A House for Blue Shadows’. A series of cantilevered moving platforms above the trees form a workshop and display space for a performative cyanotype photographer and her

friends, moving over the edge of the canal between land and water to come together when in use and apart when empty. Gradually, the wooden surfaces are covered with sun-exposed blueprints while changing shadows add to the shadows of trees. Fig. Y1.14 Owen Mellett , ‘A Horticulturalist Greenhouse Home’. A house along the River Lea, which wraps around and integrates into the nature surrounding it, creating a number of interconnected microclimates in which both the owner and her plants can thrive. Fig. Y1.15 Karl Herdersch, ‘King John’s Palace/Function 1’ The first of a series of public inns with self-build room extensions that sprawl across the greenway. Come celebrate its grand opening on the site where the original King John’s Palace burnt down – a roller disco to the soundtrack of the demolition of Fish Island.

The Bartlett School of Architecture 2017

The Bartlett School of Architecture 2017

Constructing Your Practice

Nat Chard, Carlos Jiménez Cenamor

Year 1 Staff

Lucy Leonard, Ifigenia Liangi, Emma-Kate Matthews, Frederik Petersen, Eva Ravnborg, Gavin Robotham, Emmanouil Stavrakakis, Catrina Stewart, Umut Yamac, Nick Westby

Architectural Media Studies Tutor Joel Cady, Danielle Hodgson

Year 1 Coordinator Emmanouil Stavrakakis

Year 1 Administrator Izzy Blackburn

We would like to thank The Bartlett School of Architecture and the Architecture Research Fund (ARF) for their constant support of and care for Year 1.

We would like to thank Emma Flynn, CJ Lim, Hina Lad, Christine Hawley, Gergerly Kovács, Luke Pearson, Mollie Claypool, Matthew Butcher, Sara Shafei, Steve Johnson, Damjan Iliev, Blanche Cameron, Caroline Rabourdin, Joel Cady, Murray Fraser, Javier Ruiz Rodrigez, Chee-Kit Lai, Thomas Pearce, Dimitri Argyros, Danielle Wilkinson, Danielle Hodgson, Francesca Hughes, Regner Ramos, Jessica In, Sofia Krimizi, Paolo Zaide, Bernadette Devilat and Paz, Afra van 't Land, James Sale, Luke Olsen, Graeme Williamson, Natasha Sandmeier, Elizabeth Dow, B-made, ScanLAB Projects, Brian O’Reilly, Bob Sheil and the irreplaceable Frosso Pimenides.

The Bartlett Architecture Office, with Emer Girling and Izzy Blackburn on the steering wheel, has made the year possible. Thank you so much!

Constructing Your Practice

Nat Chard, Carlos Jiménez Cenamor

Year 1 is a very special moment in every architect’s career – the time in which our creativity, passion and dedication meet a new challenge: to define the environment that nurtures the social context in which we all develop our lives. It is not a simple task, since it addresses all scales from furniture to urban design, from permanent to temporary constructions; and so perhaps our most important responsibility is to have an integral vision of reality. With this purpose we train our students to observe, analyse and respond through a series of projects. The outcome of these design questions will combine their radical creativity, their uniqueness and the technical expertise acquired in conversations with tutors, consultants and experts.

This year students were asked how they might construct their practice. An introductory project teased out the personal knowledge they had already accrued about architecture from inhabiting it all their lives.  This work also probed how the process of drawing might be particular to the content that was being discussed, a theme that was developed in the second project. Four groups of students invented and built a variety of drawing boards (or surfaces) imbued with 'opinions', and the rest of the students built idea-specific drawing tools that were related to at least one of the boards. The project related the processes of making and drawing as content-led media, putting students in control of the materials and processes through which they would be thinking about their work. To help this we spent a day drawing aircraft and their components at the aeroplane museum at Duxford – an opportunity to use drawing to carefully observe how precise artefacts can be made.

In January we travelled to Madrid and drew on Carlos Jiménez’s wide range of contacts in the city. We visited and 3D scanned buildings by Izaskun Chinchilla Moreno, Andrés Jaque, Mi5 Architects, Langarita Navarro and Zuloark, architects who have forged a range of new types of practice during the recession.

These encounters set the scene for the building project, set on a range of sites along the Regent’s Canal. A workshop at the start of the project helped each student set up their own framework for how they would practice. This introduction encouraged an experimental approach to the work, which was taken in different directions by the eight first year studios. The building projects also provided a vehicle for the students’ technical studies.

Early in the year there was a strong emphasis on developing handdrawing skills as well as the connection between what was being drawn, and how. In the second half of the year we introduced digital modelling, 3D scanning and offered a 3D printing workshop. The goal of Year 1’s digital implementation aims to facilitate the combination of analogue and digital thinking as complementary design methodologies and languages in order to trigger students’ contemporary creative thinking.

The Bartlett School of Architecture 2016

Students

Gunel Aliyeva, Assankhan Amirov Oliver Ansell, Kofi Arthur, Elizabeth Atherton, Moe Atsumeda, Jack Barnett, Grant Beaumont, Poppy Becke, Daniel Boran, Theo Brader-Tan, George Brazier, Paul Brooke, Liana Buttigieg, Yuqi Cai, James Carden, Teresa Carmelita, Yung Chan, Lauren Childs, Annette Choy De Leon, Wei Chung, Yoojin Chung, Theo Clarke, James Cook, Helen Cope, Bryn Davies, Caitlin Davies, Xavier De La Roche, Aleksy Dojnow, Joe Douglas, Hao Du, Camille Dunlop, Eleanor Evason, Sebastian Fathi, Mengzi Fu, Maxim Goldau, Gabriele Grassi, Millicent Green, Grey Grierson, Lola Haines, Alys Hargreaves, Zachariah Harper Le Petevin Dit Le Roux, Florence Hemmings, Shu Hoe, Yo Hosoyamada, Joe Johnson, Daniel Johnston, Sarah Jones,

Kyuri Kim, Rusna Kohli, Katarina Krajciova, Jie Yi Kuek, Dagyung Lee, Jiyoon Lee, Thomas Leggatt, Victor Leung, Yee Liang, Chi Ka Lo, Felix Loftus, Harrison Long, Yingying Lou, Oscar Maguire, Megan Makinson, Linggezi Man, Samuel Martin, John Mathers, Joanna Mclean, Lauren Mcnicoll, Nur Mohamad Adzlee, Anna O'leary, Patrycja Panek, Agnes Parker, Chandni Patel, Maya Patel, Jolanta Piotrowska, Lingyun Qian, Katherine Ramchand, James Robinson, Silje Seim, Hanmo Shen, Justine Shirley, Negar Taatizadeh, Edward Taft, Kenji Tang, An-Ni Teng, Jarron Tham, Emily Thomas, Giselle Thong, Olivia Trinder, Andreea-Ioana Vihristencu, George Wallis, Gabriella Watkins, Chun Wong, Hon Wong, Chloe Woodhead, Rupert Woods, Jun Yap, Yuk Yip, Renzhi Zeng, Yurou Zhang and Yanmin Zhang

Figs. Y1.1 – 1.5 ‘The Drawing Room’. Fig. Y1.1 Camille Dunlop, Grey Grierson, Arthur Wong, ‘Waxing’, installation project. This drawing tool uses wax and candlelight to project the shadow of an object from which the formwork of a sculpture is created. The tool is comprised of a costume that holds two sculpting pens, one that provides heat and the other that cools down the wax. The wax is placed in layers so that the offcuts are not thrown away but instead create the negative of the sculpture while it’s being made. Fig. Y1.2 Theo Brader-Tan, Sebastian Fathi, Teresa Carmelita, ‘The Drawing Pause’, installation project. The drawing instrument allows the wearer to pause during moments of transition and draw onto the surface of the suit. Fig. Y1.3 Jarron Tham, Victor Leung, Justine Shirley, Yo Hosoymada, James Carden, Renzhi Zeng,

‘Piloti’, installation project. This collaborative drawing tool is inspired by the plans of Le Corbusier’s Villa Savoye. Fig. Y1.4 Installation project, Xavier De La Roche, Joe Jonston, Jie Kuek, Lauren Mcnicoll, ‘Ambidextrous Simultaneous’. This drawing device allows one to draw with both hands simultaneously. The vertical drawing surface enhances the method of this tool while it allows one hand to be guided by the other in the process of drawing. Fig. Y1.5 Rusna Kohli, Chun (Dereck) Wong, Joanna Mclean, 'Skin Tool'. This drawing tool is composed of two parts: the costume which has stitches representing an invented measuring system whose units relate to the body; and a series of stencils that are again designed from body curvatures and help to guide the hand to draw.

1 The Bartlett School of Architecture 2016

The Bartlett School of Architecture 2016

Fig. Y1.6 Jack Barnett , ‘A Plumber and his Water Purification Temple’. This house sits on the canalside and collects the water for a pool, purifying it through a series of organic filters. Fig. Y1.7 Max Shen, ‘An attempt to capture the moment of falling asleep’. The project discusses the moment of falling asleep through a series of drawings which try to capture the threshold between being awake and falling asleep. Fig. Y1.8 Lingyun Qian, ‘Mario and his Mushroom Farm’. The project develops from a series of bird origami which are redesigned to fit inside one other. Y1.9 Megan Makinson, ‘A Ruined House for a Cello Teacher’. The house is composed of a series of walls which are assembled by the ruins of bombarded London. A collection of the teacher’s memories are displayed within the structure, organising an emotional and functional promenade.

Bartlett School of Architecture 2016

The Bartlett School of Architecture 2016

1 The Bartlett School of Architecture 2016

Fig. Y1.10 Daniel Boran, Yoojin Chung, Zak Harper Le Petevin Dit Le Roux, Eeda Lee, Oscar Maguire, Maya Patel, ‘The Hug Plane’. An immersive drawing surface which offers a range of curvatures to accept each of the drawing tools. Fig. Y1.11 Maya Patel, ‘Nettle House.’ Owned by a couple, this house comprises a foraging shop in which customers ‘forage’ for the products. The couple sell nettle pesto and also have an underground experimental herbal medicine project. Fig. Y1.12 Olivia Trinder, ‘The Afternoon Jamboree House’. A house that celebrates British traditions, where teas are served and fruits are dried, strained and pressed to make the perfect jam. The stains left upon the stretched skin of the building will be in constant transition, reflecting the fruits of the seasons. The customers can sail in to collect their orders whilst the

fruit produce filters through the roof structure. Fig. Y1.13 Lola Haines, ‘Tessie’s Vegetable Performance’. A little house in Mile End where Tessie makes puppets out of fruit and vegetables. A Victorian façade disguises the performance world which opens itself to the public only once they have decided to enter the grocery shop.

The Bartlett School of Architecture 2016

Fig. Y1.14 Enoch Liang, ‘Clinic for Sleep Disorder’. A place that provides diverse types of spaces for various sleeping patterns. These spaces channel sounds from the animals around the canal, whilst the architecture allows for the growth of lavender, which enhances relaxation. Fig. Y1.15 Victor Leung, ‘The Percussionist’s House’. A public space and private residence that acts as an interactive aural experience that showcases the client’s vast percussion collection. The building also engages and links its residents and visitors through its musical ecosystem. Fig. Y1.16 Olivia Trinder, ‘The Afternoon Jamboree House’. Fig. Y1.17 Moe Atsumeda, ‘A Japaneseinspired teahouse’. A weaver’s studio and consultation space and a small house for the Mile End community.

Bartlett School of Architecture

Longing and Belonging: The First Year in Architecture Nat Chard, Frosso Pimenides

Year 1 Longing and Belonging: The First Year in Architecture

Nat Chard, Frosso Pimenides

Year 1 Staff

Dimitris Argyros, Tamsin Hanke, Lucy Leonard, Ifigeneia Liangi, Brian O’Reilly, Frederik Petersen, Eva Ravnborg, Emmanouil Stavrakakis, Catrina Stewart, Emmanuel Vercruysse

Architectural Media Studies Tutor Joel Cady

Year 1 Coordinator Emmanouil Stavrakakis

Year 1 Administrator James Lancaster

Special thanks to Michael Arthur, UCL President & Provost, William Palin and James Willis

We are grateful to Laura Allen, Carrie Behar, Peter Bishop, Matthew Butcher, Joel Cady, Kacper Chmielewski, Blanche Cameron, Kate Davies, Mike Hadi, Christine Hawley, Colin Herperger, Simon Herron, Danielle Hodgson, Steve Johnson, Susanne Isa, Carlos Jiménez Cenamor, Markus Lähteenmäki, Zoe Laughlin, Stefan Lengen, Tim Lucas, Samar Maqusi, Josep Miàs, Jack Newman, Alan Penn, Jonathan Pile, Regner Ramos, Peter Rees, Gavin Robotham, James Sale, Luke Scott, Rupert Scott, Bob Sheil, Matt Springett, Alex Sutton, Afra Van’t Land, Graeme Williamson, Simon Withers, Paolo Zaide, Peter, Abi, Bim and all our wonderful friends at B-made

The Bartlett’s BSc Architecture degree programme aims to develop a creative, diverse and rigorous approach to architecture at the outset. Year 1 is centred on the design studio and is taught to the year as a whole. The main intention of the first year is to explore ways of seeing, understanding and interpreting objects, events and places, and learning to look beyond the visible into the unseen. In this way, a place can also be seen as something with its own identity, which each student can interpret. The importance of character and personality is emphasised throughout the design process, whether it concerns analysis, site interpretation or architectural vision.

Our aim is to be serious yet playful, passionate and ruthlessly experimental – always pushing the boundaries of possible realities. Year 1 aims to teach students to learn how to draw a thing and how to draw an idea. Thinking through drawing and drawing through making become the primary tools for students in a highly experimental environment. A series of diverse exercises and a group installation project lead up to an individual small building project sited in London.

The students started the year in Greenwich, where each was allocated an eight-metre-long slice of the river edge. The students were asked to inhabit the place by drawing its visible and invisible qualities; they described things (river wall and beach) in drawings. Drawing the invisible qualities taught them how to find a way to express a personal sense of the place which surpasses the conventions of architectural drawing. The second project was a group installation where eight groups were situated in historic locations at the Old Royal Naval College at Greenwich. Under the theme ‘longing’ and ‘belonging’, the students explored ways of adjusting a given place, a dialogue was developed between the external beach sites and the internal character and stories of the rooms. It introduced thinking through making and provided the process of design as a collaborative experience. The theme of belonging to a place is constantly in dialogue with longing for another place, a memory or an idea. On a fieldtrip to Paris the students experienced the magic of exploring a city through its buildings, parks, museums, streets, food and air. The final project was to design a small building on the river sites that were surveyed at the beginning of the year. Each student pursed ideas of inhabitation of the river edge in relation to a process of making. Together, the projects form a collective proposal of inhabiting that stretch of the river edge in Greenwich.

The life of our first year students is a continuous process of testing, questioning, rethinking and visually communicating a series of design explorations, as part of a studio culture, a community and the city of London. It is a journey of learning skills and knowledge that give students the tools to think, experiment, make lots of mistakes, celebrate their failures and, finally, have fun designing. In this sense we encourage research as the creation of knowledge through discovery.

Students

Ella Adu, Nour Al Ahmad, Aya Ataya, Kelly Au, Nur (Sabrina) Azman, Gabriel Beard, Natasha Blows, Freya Bolton, Ella Caldicott, Alexandra Campbell, Jun Chan, Seowon (Sharon) Chang, Jade Chao, Lier Chen, Yihan (Zara) Chen, Nikhil (Isaac) Cherian, Hoh Gun Choi, Se (Elva) Choi, Wai (Tiffany) Chong, Lap (Justin) Chow, Krina Christopoulou, Nicholas Chrysostomou, Wai (Thomas) Chu, Wing (Melody) Chu, Peter Davies, Alex Desov, Ashleigh-Paige Fielding, Christina Garbi, Rupinder Gidar, Ela Gok, Christopher Grennan, Samuel Grice, Morgan Hamel De Monchenault, Arthur Harmsworth, Zeng Wei (Glen) Heng, James Hepper, Janis Yip Mun Ho, Qi (Nichole) Ho, Joanna Hobbs, Clementine Holden, Kaizer Hud, Hanna Idziak, Nnenna Itanyi, Hanadi Izzuddin, Georgia Jaeckle, Ziyu Jiang, Harry Johnson, Olga Karchevska, Jaejun Kim, Carmen Kong, Aleksandra Kugacka, Chess Lam, Ka Law, Rachel Lee, Valeriya Lepnikova, Tung (Sardonna) Leung, Hannah Lewis, Yidong (Isabel) Li, Alvin Lim, Minghan (Tom) Lin, Shi Ling, Yeung (Jimmy) Liu, Elissavet Manou, Simina Marin, Margarita Marsheva, Dustin May, Divesh Mayarmani, Oliver Mitchell, Jun Mo, Hoi (Aikawa) Mok, Carolina Mondragon-Bayarri, Holly Moore, Rosie Murphy, Elliot Nash, Rory Noble-Turner, Edie Parfitt, Gabriel Pavlides, Harry Pizzey, Daniel Pope, Samuel Price, Elena Real-Davies, Sam Rix, Felix Sagar, Luke Sanders, Edward Sear, Niraj Shah, Jack Spence, William Stephens, Sarmad Suhail, Zhi (Ryan) Sun, Zhi (Zoe) Tam, Karina Tang, Connie Tang Koon Cheong, Emily Thomas, Ryan Walsh, Claudia Walton, Chun (Heison) Wong, Ching (Cherie) Wong, Ella Wragg, Fan (Lisa) Wu, Yu (Amy) Wu, Ke Yang, Qiming (Douglas) Yang, Hyun (Kevin) Yoon, Fan (Jenny) Zhou, Ziyuan (Oliver) Zhu

Figs. Y1.1 – Y1.9 ‘The Greenwich Instruments’, ORNC, December 2015 Fig. Y1.1 Studio 1: Ella Adu, Jun Chan, Jade Chao, Nicholas Chrysostomou, Samuel Grice, Kaizer Hud, Olga Karchevska, Simina Marin, Elliot Nash, Ryan Walsh, Ching (Cherie) Wong, Chun (Heison) Wong, ‘The Dome’. A triptych of acoustic reflectors amplifies and redirects sounds belonging to the Greenwich coast linking three floors in the dome of Wren’s iconic Old Royal Naval College. Fig. Y1.2 Studio 6: Freya Bolton, Tiffany Chong, Christina Garbi, Zeng Wei (Glen) Heng, Hannadi Izzuddin, Chess Lam, Oliver Mitchell, Harry Pizzey, Luke Sanders, Zhi (Zoe) Tam, Hyun (Kevin) Yoon, Jun Mo, ‘Admiral’s House’. At the Greenwich beach site the primary interest was how the tide hides and reveals the beach. The installation was designed to flood the room with light and movement by

creating a machine. The machine was a kind of baroque theatre piece, that created a notion of the room being flooded with water. Fig. Y1.3 Studio 7: Kelly Au, Ella Caldicott, Lap (Justin) Chow, Rupinder Gidar, Qu (Nichole) Ho, Georgia Jaeckle, Ka Law, Yeung (Jimmy) Liu, Holly Moore, Daniel Pope, Karina Tang, Fan (Jenny) Zhou, ‘Admiral’s House’. 3D scan. This installation exists upon a threshold, negotiating the worlds inside and outside the wall. Fragments of a body held in a frame lie motionless in the window as an echo of a previous presence. Longing for the seas beyond, the visitor is drawn towards the light, they soon find themselves inhabiting this structure which lifts the body, slowly revealing the views outside. Fig. 4 Studio 6: ‘Admiral’s House’. Fig. Y1.5 Studio 2: Nour Al Ahmad, Seowon (Sharon) Chang, Wai (Thomas) Chu, Nikhil (Isaac) Cherian, Arthur Y1.2 Y1.3

Bartlett School of Architecture 2015

‘The

The Bartlett School of Architecture

Harmsworth, Nnenna Itanyi, Valeriya Lepnikova, Margarita Marsheva, Sam Rix, Felix Sagar, Claudia Walton, Yu (Amy) Wu

Crypt’. 3D scan. The journey of pieces of chocolate found on the river edge in Greenwich from the yard level where the steam box was placed onto the wooden baskets that sit inside the crypt. This performance reveals hidden connections of commerce, transportation and belonging between the present and the past of Greenwich.

Fig. Y1.6 Studio 3: Aya Ataya, Yihan (Zara) Chen, Hoh Gun Choi, Wing (Melody) Chu, James Hepper, Ziyu Jiang, Yidong (Isabel) Li, Hoi (Aikawa) Mok, Imogen Newton, William Stephens, Fan (Lisa) Wu, Edward Sear, Tung (Sardonna) Leung, ‘The Skittle Alley’. Drawing by Edward Sear. This kinetic piece draws on the atmosphere, energy, motion and history of the now still skittle alley. Fig. Y1.7 Studio 4: Gabriel Beard, Lier Chen, Peter Davies, Alex Desov, Joanna Hobbs, Carmen Kong, Hannah Lewis, Alvin Lim, Carolina Mondragon-Bayarri, Niraj Shah, Sarmad Suhail, Rory Turner, Ke Yang, ‘The Skittle Alley’. The installation uses the vibrations caused by the balls rolling on the skittle alley to produce a drawing and a piece of music through a series of three instruments: the seismograph, the gramophone and the chalk tower. Y1.6

Fig. Y1.8 Studio 8: Nur (Sabrina) Azman, Alexandra Campbell, Krina Christopoulou, Ela Gok, Christopher Grennan, Janice Ho, Harry Johnson, Rachel Lee, Elissavet Manou, Rosie Murphy, Sam Price, Connie Tang, Emily Thomas, Ziyuan (Oliver) Zhu, ‘Admiral’s House’. A spectator positions her jaw in a neck rest and by moving forward she sets in motion a set of cinematic dolly zoom wings that rotate while the mechanically linked but obscured world behind the wings unfolds an orrery of building sites. Fig. Y1.9 Studio 5: Natasha Blows, Se (Elva) Choi, Ashleigh-Paige Fielding, Morgan Hamel de Monchenault, Clementine Holden, Aleksandra Kugacka, Minghan (Tom) Lin, Dustin May, Edie Parfitt, Gabriel Pavlides, Jack Spence, Zhi (Ryan) Sun, Qiming (Douglas) Yang, ‘Admiral’s House’. Performative work, where two people enact the ritual of

making a cup of tea. This act operates as a sequential negotiation of balance, sightlines and the flow of liquid over the abstracted and overlaid landscapes of Greenwich and the tea table.

Y1.8 Y1.9

Fig. Y1.10 Janis Yip Mun Ho ‘Skeleton Armature: Bicycle Builder’. Image capturing the process of modelmaking for the building project. Fig. Y1.11 James Hepper House for a bootlegger distillery, in the guise of a custom acoustic guitar maker. The secret distillery is concealed within and between the interlocking spaces. The illicit production is ambiguously suggested to a visitor yet never fully revealed. Design, material, and light studies on the scheme. Fig. Y1.12 Jaejun Kim ‘Percussion Maker’s House’. Image of the final model revealing the back entrance view of the percussion workshop, where you can experience the interior spaces and the materiality of the building. Fig. Y1.13 Harry Pizzey ‘House for an Automaton Maker’. A 1:50 section showing the relation of the house with the river during high tide.

1 The Bartlett School of Architecture 2015

The Bartlett School of Architecture

Fig. Y1.14 Simina Marin ‘The Place of Redefining Horizon’. Sectional model describing the two experiences: the inhabitants’ and the visitors’. Fig. Y1.15 Daniel Pope ‘House for a Catgut Stringmaker’. The South-facing elevation highlights how 20-metre lengths of raw sheep intestine connect the string stretching platform to shutters which close slowly as raw intestines are converted into violin strings. A musical bridge bridges the gap between the Thames Path and the entrance to the building inside the river wall. Fig. Y1.16 Arthur Harmsworth ‘Tea House’. A 1:100 model of the second form of the final design detailing materiality and elements. Fig. Y1.17 Shi Ling ‘House for an Eye Surgeon’s Clinic’. The project deals with the sensory aspects of having a poor sight and regaining it again. Tactilities on walls and floor guiding the patient in the

building. Upon leaving after surgery, the patient is led out with sunlight becoming gradually stronger and more present in the building.

The Bartlett School of Architecture 2015

Fig. Y1.18 Edward Sear ‘House for a Drum Collector’. Section 1:50 showing the final scheme of the building and moments of its inhabitation. Fig. Y1.19 Jaejun Kim ‘Percussion Maker’s House’. An image of the final 1:50 model (in elevation) showing the relationship with the river. The house creates sounds as the building moves in relation to the tide levels. Fig. Y1.20 Yeung (Jimmy) Liu ‘Greenwich Beach Site Survey’. A 1:20 plan of the river edge revealing layers of materials and light. Fig. Y1.21 Ziyuan (Oliver) Zhu ‘Mapping Spaces between the Real and the Imaginary’. The building façade provides opportunity for people to imagine the occupation of the interior spaces.

Homing In: The First Year in Architecture Frosso Pimenides, Patrick Weber

Year 1

Homing In: The First Year in Architecture

Frosso Pimenides, Patrick Weber

Special thanks to: Abi Abdolwahabi, Richard Beckett, Bim Burton, Emmanuel Vercruysse and Nick Westby from The Bartlett Workshop, and to Rachel Antonio, Danielle Hodgson and Afra van‘t Land

Thanks to Carol Swords, James Willis, and all the staff of Sir John Soane’s Museum and Pitzhanger Manor

Year 1 Staff: Dimitri Argyros, Tim Barwell, Charlotte Bocci, Mary Duggan, Elie Lakin, Lucy Leonard, Brian O’Reilly, Sara Shafiei, Matt Springett

Architectural Media Studies Tutor: Joel Cady

The Bartlett’s BSc degree programme aims to develop a creative, diverse and rigorous approach to architecture and design from the outset. Year 1 is centred on the design studio and is taught to the year as a whole. Students learn to observe, draw, model and design through a series of creative tasks, before embarking on an individual small building project sited in the context of London.

The main intention of the first year at The Bartlett is to explore ‘ways of seeing’ – understanding and interpreting objects, events and places, and learning to look beyond the visible into the unseen qualities of things and places. In this way, a place can also be seen as something with its own identity, which each student can interpret. The importance of character and personality is emphasised throughout the design process, whether it concerns analysis, site interpretation or architectural vision. A number of recording techniques are used as a way of clarifying the subject. By being aware of the possibilities and limitations of techniques, each student learns to develop an idea for an architectural proposition critically and independently. The aim is to be serious yet playful, passionate and ruthlessly experimental – always pushing the boundaries of possible realities.

The life of our first year students is a continuous process of testing, questioning, rethinking and visually communicating a series of design explorations over the course of the year as part of a studio culture, a community and the city of London. It is a journey of learning skills and knowledge that give students the tools to think, experiment, make lots of mistakes, celebrate their failures and, finally, have fun designing.

Students began the year by exploring their own domestic environments through drawing and making. After this they worked in groups on an installation project in Sir John Soane’s country house, Pitzhanger Manor in Ealing. Each of the six groups created a site-specific interpretation of a member of Soane’s household. Students worked collaboratively to conceive, prototype, test and craft their 1:1 temporary installations. The individual designs explored the relationship and spaces of the Chambermaid, the Footman, the Housemaid, the Butler, the Cook and the Coachman, and their spatial relationship to the Soane family.

The second term started with an expedition to Barcelona. Three spaces were explored and recorded in a travel diary. This was closely followed by a trip to Margate and Broadstairs on the Kent coast. After making a short survey exploring the history and topography of the place, each student embarked on the design of a Seasonal Hermitage for a specific site within the fabric of Margate and Broadstairs. The buildings had to accommodate a domestic and a seasonal aspect.

Year 1

Linzi Ai, Richard Aina, Yat Au Yeung, Amelia Black, James Bradford, Hoi Chan, Bingqing Chen, Hoi Cheung, Lester Cheung, Yan Cheung, Jooyoung Cho, Maria Chodzen, Deedee Chung, Conor Clarke, Carrie Coningsby, Alessandro Conning-Rowland, Jack Cox, Charlotte Creber, Iman Datoo, Samuel Davies, Danny Dimbleby, Judy El-Hajjar, Iona Farrar-Bell, Peter Feehily, Alexander Findley, Dan Florescu, Christopher Grennan, Yangzi Guo, Melina Hadjiargyrou, Una Haran, Sarah Hollis, Ana-Maria Ilusca, Marta Jakubowska, Yufan Jin, Maria Junco, Emma Jurczynski, Klaudia Kepinska, Karolina Kielb, Jaejun Kim, Cheuk Ko, Ching Kuo, Yik Lai, Andrew Leather, Kwok Li, Yi Ning Lui, Xiao Ma, Divesh Mayaramani, Benjamin Mehigan, Liam Merrigan, Jun Mo, Iman Mohd Hadzhalie, Michael Mcadam, Adam Moqrane, Maria Moustroufi, Samuel Napleton, Xin Ng, Hoi Ngan, Maryna Omelchenko, Fola-Sade Oshinusi, Yu Pan, Achilleas Papakyriakou, Minesh Patel, Sophie Percival, Joseph Philo Powell, Calvin Po, Sze Poon, Duangkaew Protpagorn, Charles Redman, Manpreet Riat, Andrew Riddell, Bethan Ring, Samuel Rix, Joanna Rzewuska, Shona Sharma, Frederick Sheppard, Issui Shioura, Isaac Simpson, Yip Siu, Benjamin Sykes-Thompson, Sheau Tam, Nihal Tamang, Matthew Taylor, Rachael Taylor, Olufunto Thompson, Minh Tran, Tze-Chuan Tung, Hoang Vu, Fei Waller, Ngai Wang, Chun Wong, Kate Woodcock-Fowles, Ella Wragg, Xinyue Yao, Adeola Yemitan, Sum Yeung, Yuanchu Yi, York (Nerissa) Yeung, Wing Yiu, Yinong Zhang, Meng Zhao, Yehan Zheng

Fig. Y1.1 Soane Installations on site outside Pitzhanger Manor House in Ealing in December 2013. Fig. Y1.2 ‘The Chambermaid’. The installation focuses on the link between the rhythmical repetition in Soane’s escapist morning walks to Pitzhanger Manor and the repetition inherent in his chambermaid’s tasks: scrubbing and dusting, with a particular focus on the biannual dying of the curtains yellow with turmeric. Operated through a repetitive straining action, it forces the viewer into a crouch position to glimpse the ground at floor level on the Pitzhanger façade. Fig. Y1.3 ‘The Butler’. The installation explores the role of the butler within the household, with a clear distinction between the back and the front. From the back the ‘butler’ controls what the viewer sees on the front side, guiding them through his daily routine.

Crucial also is the difference between the day, with its endless polishing, and the night-lit experience of the piece, which alludes to Soane’s obsession with entertaining his guests.

Fig. Y1.4 ‘The Housemaid’. A series of frames assembled as an analogy of the serving experience of a housemaid’s daily routine in the Soane family: the opening and closing of shutters, the lighting of fires, and the whitening of the floors. Through the opening of each different frame, a sense of enclosure is created. It is a performance of the invisible hand, with shadows and silhouettes of the user reflected on frames with different symbolic treatment of materials, thicknesses and positions.

The Bartlett School of Architecture 2014

Fig. Y1.5 ‘The Cook’. The installation explores the three distinct conditions of cooking, cleaning and sleeping hidden in Soane’s kitchen throughout a daily routine. Inspired by the processes of culinary preservation of the era, it is trying to capture the sensational experience of food through methods of hanging, drying and concealing. Scents are embedded in pockets to represent the effort made to mask repulsive smells; these smells longer upon the user as a live memory of Soane’s household. Fig. Y1.6 ‘The Footman’. This installation shows the paradox between the life and chores of the footman and Sir John Soane. The footman’s life, being the dark and hidden underworld, in which the dirty and menial chores must be done, and Soane being the clean and perfectly formed front shown to the public. Soane’s relentless control means these

routines fit together in perfect equilibrium of two worlds, one above and one below. Fig. Y1.7 ‘The Coachman’. This installation explores the peculiar relationship between Soane and the Coachman, focusing on the hierarchy of control between the two. The hand movements of the ‘controller’ cause the framed views of the ‘experiencer’ to change, mirroring the control that the coachman has over Soane’s environment while travelling. Looking through the viewfinder the ‘experiencer’ is shown the view of either the Coachman or Soane from their positions when arriving at Pitzhanger. Each of the suspended frames shows the thresholds visible to each. Soane has a clear view, looking straight through the building, whereas the coachman has an obstructed view with the thresholds overlapping.

Y1.5 Y1.7

Y1.6

Fig. Y1.8 Judy El-Hajjar ‘Fossil Hunter’s House in Margate’. The building is constructed of chalk-lined concrete with timber frames housing the fossil collection. Two distinct but interweaving routes separate the public from the private areas. The collector has views to the sea to study the weather.

Fig. Y1.9 Wing Yip Siu ‘A House for the Last Fisherman in Margate and his Seagulls’. Organised as a complex compact tower this dwelling is oriented to the owners fishing grounds and his boat. The project is an exploration of the enduring symbiotic relationship between fisherman and seagulls. The tower accommodates dwelling space for both, as well as a small shop for bycatch. Built from chalk-lined concrete the building will erode over time. Fig. Y1.10 Samuel Davies ‘A House in Memory of Margate’s Lost Butcher’. When a hoard

of animal bones were recently discovered buried in Margate harbour, it came to light that a Georgian butchers shop once occupied site. The architecture is drawn out of this memory, a detailed observation of anatomy and the requirements to preserve meat in two ways: one quickly over 30 days and one annually. The building envelope has been designed to catch wind and enhance the dry-curing process through enhanced airflow. Fig. Y1.11 Yunachi Yi ‘Margate Tailor’s Residence’. The building is located within a terrace of historical shop buildings facing the sea. A tailor shop, a dwelling and a studio fills the narrow site and connects the rear street to the promenade. The building is constructed of timber beams and columns forming a matrix with a threadlike sewn cladding forming a rain- and sun-screen.

Fig. Y1.12 – Y1.13 Ching Kuo ‘The Fisherman’s House’. The Fisherman’s House in Broadstairs is a dwelling that doubles as a kiosk for the preparation, cooking and selling of the season’s bycatch fish. Studies into the filleting of fish have led to the development of a series of vertical slices and folds that act as primary structural steel fixed back into the cliff. Within these frames a secondary timber structure is hung. These house the main accommodation. The photos show a series of development models used to explore the structure and define the inhabited spaces. Fig. Y1.14 Issui Shihora ‘A House for a Rain Collector’. The project weaves a series of spaces for living with notions of how to collect and celebrate water through large-scale models exploring themes such as lighting and materiality. The private sequence of spaces are arranged at

the core of the building while the public can occupy the ground and the roof. Both public and private are able to experience a sequence of spaces centred around the theme of water. Fig. Y1.15 Achilleas Papakyriakou ‘A House for a Beachcomber’. The project is driven by a journey both for the public but also for the owner who is a beachcomber. A defined route which begins on the beach as a series of fragmented workbenches wraps around the site. Views from neighbouring buildings as well as the accommodation are carved out of this route. A structural wall houses the collection as well as the living and working spaces and connects the beach to the promenade above.

The Bartlett School of Architecture 2014

Fig. Y1.16 – Y1.17 York (Nerissa) Yeung ‘The Backyard Handyman of Margate’. The design responds to the context and the relationship of the site to the surrounding context. The building is a house and a workshop for a handyman. The form and materiality are driven by connections to neighbouring buildings in which the handyman works as well as exploring how to store objects and tools within the walls of the house. The project creates a series of visual and physical connections to it’s ultimate and wider context. Fig. Y1.18 Sophie Percival ‘A House for a Cleaner and a Landscape for the Beach Visitor’. The project explores the notion of how bamboo can naturally clean dirty water which regularly floods the site at high tide. The building is nestled within three walls of concrete and bamboo. The private accommodation braces between the

walls while the ground floor provides a series of lockers, paddling pools and showers for the visitors of the beach. These spaces are carved out of the walls and the newly created landscape on the ground floor.

In Transit: A Journey in the Life of Year 1 Frosso Pimenides, Patrick Weber

Year 1 In Transit: A Journey in the Life of Year 1

Frosso Pimenides, Patrick Weber

The Bartlett’s BSc degree programme aims to develop a creative, diverse and rigorous approach to architecture and design from the outset. Year 1 is centred on the design studio and is taught to the year as a whole. Students learn to observe, draw, model and design through a series of creative tasks, before embarking on an individual small building project sited in the context of London.

The main intention of the first year at The Bartlett is to explore ‘ways of seeing’ – understanding and interpreting objects, events and places, and learning to look beyond the visible into the unseen and absurd qualities of things and places. In this way, a place can also be seen as something with its own identity, which each student can personally interpret. The importance of character and personality is emphasised throughout the design process, whether it concerns analysis, site interpretation or architectural vision. A number of recording techniques are used as a way of clarifying the subject rather than as purely graphic representation. Through being aware of the possibilities and limitations of various techniques, each student learns to express, and then develop critically and appropriately through their own intuition, an idea for an architectural proposition.

Architecture is explored individually through cultivating ideas, exploring imagination and nurturing curiosity. Students explore, describe and communicate their ideas through a range of two- and three- dimensional techniques. The aim is to be serious, passionate and ruthlessly experimental – always pushing the boundaries of possible realities.

Being open and naïve in their working method, students are encouraged to take risks. Not being afraid of making mistakes forms the basis of the approach: a mistake can often form the basis of a new idea, a different way to see the world. It is the path to new possible architectures.

The life of our first year students is a continuous process of testing, questioning, rethinking and visually communicating a series of design explorations over the course of the year as part of a studio culture, a community and the city of London. It is a journey of learning skills and knowledge that give students the tools to think, experiment, make lots of mistakes, celebrate their failures and finally have fun designing.

Students started the year by exploring the condition of being in transit, having just arrived in London and at University. They questioned this notion by designing and fabricating a London ‘suit’ that addresses the new experiences whilst remembering their past.

After this they worked in groups on an installation project in Sir John Soane’s Country House, Pitzhanger Manor in Ealing. Each of the six groups adjusted the given spaces through the installation of a site-specific interpretation of a suitcase. The process of designing was a collaborative experience, where students worked in groups to conceive, prototype, test and craft their 1:1 temporary installations. Their designs considered Soane in transit, his life as a journey through the museum, his journeys to and fro between his two houses and the journeys of his artefacts.

In the second term the whole year group explored Genoa through surveying. Dissecting a very specific set of locations through sectional drawings revealed qualities of the place.

From February onwards each student was asked to first gain an understanding of the wider urban context of Camden, as an inbetween place, a place of transit and a place in transit. Students were subsequently asked to reimagine the lodging house for present day Camden, react against its seedy past and design a place that provides generous, engaging, uplifting spaces of temporary and permanent inhabitation.

The Bartlett School of Architecture

Special thanks to: Abi Abdolwahabi, Bim Burton, Nick Westby, Martin Watmough and Richard Beckett from the Bartlett Workshop, and to Danielle Hodgson, Afra van ‘t Land, Rachel Antonio, Patrick Laing.

Thanks to Carol Swords, Beth Walker, James Willis, and all the staff of Sir John Soane’s Museum and Pitzhanger Manor.

Year 1 Staff

Tim Barwell, Margaret Bursa, Johan Hybschman, Lucy Leonard, Brian O’Reilly, Sara Shafiei, Matt Springett, Nikolas Travasaros

Architectural Media Studies Tutor: Joel Cady

BASc – Architectural Media Studies Tutor: Dimitri Argyros

Year 1

Kamola Askarova, Annecy Attlee, Florence Bassa, William Bellamy, Flavian Berar, Uday Berry, Hoi (Christy) Chan, Nicola Chan, Yee Ki (Kiki) Chan, Hsiao (Cindy) Chen, Pui Choi, Boon Yik Chung, Oliver Colman, Samuel Coulton, Douglas Croll, Thomas Cubitt, Naomi De Barr, Christophe Dembinski, Danny Dimbleby, Patrick Dobson-Perez, Kat Feltwell, Lucca Ferrarese, Grace Fletcher, Kelly Frank, Vincent Fung, Egmontas Gerasimovas, Ren-Zhi Goh, Jarrell Ye Lone Goh, Cheng Guo, Yangzi (Cherry) Guo, Alice Hardy, Francis Hardy, Katja Hasenauer, Sarah Hindle, Hilda Hiong, Jun (Michelle) Ho, Jessica Hodgson, Tae (Freddie) Hong, Patrick Horne, Cheung (Ivan) Hung, Lubna Ibrahim, Aqsa Iftikhar, Angus Iles, Niema Jafari, Niki-Marie Jansson, Rikard Kahn, Mouna Kalla-Sacranie, Lee Kelemen, Dina Khaki, Richard (Will) Kirkby, Subin Koo, Nikolas Kourtis, Clarence Ku, Kaela Kwan, Yiki Liong, Daniel Little, Wenya Liu, Yangyang Liu, Kin (Glynnis) Lui, Jonah Luswata, Alan Ma, Sonia Magdziarz, Michael Mcadam, Zi (Kevin) Meng, Douglas Miller, MateiAlexandru Mitrache, Masahiro Nakamura, Robert Newcombe, Morenike Onajide, Max Palmer, Oliver Parkinson, Tobias Petyt, Sylwia Poltorak, Rosa

Prichard, Louise Rymell, Soma Sato, Francesca Savvides, Laura Skudder, Anastasia Stan, Emilio Sullivan, Sophie Tait, Sheau (Amanda) Tam, Yu (Nicole) Teh, Minh Tran, Shi (Kiki) Tu, Laszlo Von Dohnanyi, Astrid Von Heideken, Valerie Vyvial, Zhi (Ernest) Wang, Angus Whitehead, Allegra Willder, Cara Williams, Priscilla Wong, Sammy Yeung, Yuanchu Yi

Bartlett

Y1.1

Fig. Y1.1 – Y1.3 Mrs Soane’s Gloves. The installation responds to the etiquette of being greeted and admitted into Pitzhanger Manor. It is formed of two connected parts, so that when a visitor signs in using the sliding pencil at the stand by the door the gesture is translated into a unique movement by the pendulum at the reception desk. As gloves become unique to their owner over time, our installation allows each visitor to initiate a personal show that reflects the grand nature of Mr Soane, his wife and his house. Y1.2

The Bartlett School of Architecture 2013

Fig. Y1.4 Visitors Card Holder. The installation seeks to capture the movement of visitors entering the grounds of Pitzhanger Manor to produce a display based upon the traditional visitors card communication system. Three delicate arms register visitors as they pass through the pedestrian gate to Pitzhanger Manor. This movement causes folding in the faceted panel on the vehicle side of the gate. The visitor experiences a detachment from the visual message, similar to the delay associated with the posting of a traditional calling card.

Fig. Y1.5 Sarcophagus. The Sarcophagus acts as the focal point of the Sir John Soane’d Museum, drawing you through the building on a journey of Soane’s collection in order to reach it. However, this experience is ultimately unfulfilled, as once you reach the sarcophagus you cannot touch it. The installation

addresses this tactile curiosity through a set of four fragments unpacked around Soane’s bedroom at Pitzhanger Manor. These pieces enable the visitor to inhabit the room through touch, by performing the everyday actions of opening a door, a window, a drawer, and by resting their head on the bed.

Y1.4

Y1.5

Fig.Y1.6 – Y1.7 Empty Pistol Case: The installation is inspired by the empty case that once displayed a 19th century pistol that was stolen from the Sir John Soane’s Museum in 1969. It responded to the missing artefact by analysing the etiquette of a pistol duel and interpreting this ritual in the act of unfolding two opposing ‘suitcases’ within the space of the library. This unpacking follows a pre-defined choreography that is set out through a language brass inlays.

Fig. Y1.8 Model Temple of Vesta. The Temple of Vesta was centred around a sacred fire that had to be kept alight constantly. The installation responds to the idea of tending a fire, by picking up air currents created by visitors’ breath and movement. A series of finely balanced sails are placed in the breakfast room so that under certain conditions, the sails rotate, each sail fitting and just clearing the next one so that the gust is transferred across the room to the hearth.

The Bartlett School of Architecture 2013

The Bartlett School of Architecture 2013

Fig. Y1.9 Thomas Cubitt, Camden Lock Allotments Lodging House. Fig. Y1.10 Jarrell Ye Lone Goh, Inverness Street Writer’s Lodge. Fig. Y1.11 Zi (Kevin) Meng, The Boater’s Lodging House. Fig. Y1.12 Jun (Michelle) Ho, Sliding Lodging House, Buck Street.

The Bartlett School of Architecture 2013

The Bartlett School of Architecture 2013

Fig. Y1.13 – Y1.16 Cara Williams, Magician’s Lodging House. The lodging house is a magician’s trick, rebuilding the façade of No. 50 Hawley Street, a lone terrace house found by the discovery of a photograph of the street taken in 1972. The lodgers unknowingly share the house with the magician, apart from when they catch brief glimpses of him and the secret garden through a sequence of windows. The only way to understand the magician’s trick is to sit on the bench next to the lamppost facing the site: from here the lodger’s inhabitation and a glimpse of the magician’s secret stage is revealed. Y1.15

Annex to The Bartlett Frosso Pimenides, Patrick Weber

ANNEX TO THE BARTLETT

Frosso Pimenides, Patrick Weber

The Bartlett’s BSc degree programme aims to develop a creative, diverse and rigorous approach to architecture and design from the outset. Year 1 is centred on the design studio and is taught to the year as a whole. Students learn to observe, draw, model and design, through a series of creative tasks before embarking on an individual small building project sited in the context of London.

The main intention of the first year at the Bartlett is to explore ‘ways of seeing’ - understanding and interpreting objects/events/places and learning to look beyond the visible into the unseen and ‘absurd’ qualities of things and places. In this way, a place can also be seen as something with its own identity, which each student can personally interpret. The importance of ‘character’ and ‘personality’ is emphasised throughout the design process whether it concerns analysis, site interpretation or architectural vision. A number of recording techniques are used as a way of clarifying the subject rather than as purely graphic representation. Through being aware of the possibilities and limitations of various techniques, each student is learning to express and then develop critically and appropriately, through their own intuition, an idea for an architectural proposition.

In the first year architecture is explored individually through cultivating ideas, exploring imagination and nurturing curiosity. Students explore, describe and communicate their ideas through a range of two- and threedimensional techniques. The aim is to be serious, passionate and ruthlessly experimental - always pushing the boundaries of possible realities. Being open and naïve in their working method, students are encouraged to take risks - not being afraid of making mistakes is forming the basis of the approach as they often form the basis of a new idea, a different way to see the world around them. It is the path to new possible architectures.

Students started the year by exploring ideas around the term ‘Annex’. Through a series of iterations they designed a device that allowed them to annex themselves to a specific location or situation in London. After this they worked in groups on an installation project in Sir John Soane’s Country House Pitzhanger Manor in Ealing. Each of the six groups explored the space through the installation of a site-specific interpretation of a piece of furniture (chair, table, wardrobe, chest, desk and bed) and a building material (brick, glass, wood, brass, lead, stone). In term 2 the whole year explored Istanbul through surveying and interpretation. A ‘Section’ though a very specific location was chosen as the vehicle to narrate their findings.

Year 1 Staff: Tim Barwell, Margaret Bursa, Johan Hybschman, Lucy Leonard, Brian O’Reilly, Sara Shafiei, Matt Springett, Nikolas Travasaros

From February onwards each student was asked to develop and design a building sited in London Fields in East London. Interpreting the idea of a ‘Library’ each student developed an annex to the existing site. Students investigated the local site, history and culture; translating and incorporating these ‘findings’ into their ideas and building designs. A profound understanding of the ‘site’ and the magic of the place formed the basis for the work.

The buildings ranged from a local Herb Library, a Natural Dye Library, a Puppet Library and Theatre, a Library for Botanical Illustrations specific to the site, to a strategic building starting the reforestation of the fields over the next 100 years.

Year 1 Students: Nadira Amrani, Alexandria Anderson, Charlotte Archer, Laurence Blackwell-Thale, Matthew Bovingdon-Downe, Daryl Brown, Tom Budd, Max Butler, Amanda Campbell, Supichaya Chaisiriroj, Joyce (Xi Yao) Chen, Muzhi Chen, Yvonne Cheng, Harry Clover, Marcus Cole, Emma Colthurst, George Courtauld, Douglas Croll, John Cruwys, Clare Dallimore, Christophe Dembinski, Rufus Edmondson, Alexandra Edwards, Chloe Ellis, Katharine Feltwell, David Flook, Robin (Ruochong) Fu, Christian Georcelin, Robin (Xiang) Gu, Claire Haugh, Jamie Hignett, Konrad Holtsmark, Olivia Hornby, Casper Horton-Kitchlew, Mouna Kalia-Sacranie, Ysabel Kaye, Dina Khaki, Emma (Fong Yi) Khoo, Jaemin Kim, Min (Minkyoung) Kim, Suhee Kim, Will Kirkby, Karen Ko, Tomiris Kupzhassarova, Greg (Gregorios) Kythreotis, Paalan Lakhani, Maggie Lan, Shirley Lee Mei Ying, Perry (Wenhao) Li, Lichao Liu, Frances (Lingzhe) Lu, Lisa McDanell, Smiti Mittal, Ian Ng, Huynh Nguyen, Qianwen Ou, Nic (Cheol-Young) Park, Bethany Penman, Catherine Penn, Abigail Portus, Emily Priest, George Proud, Cassidy Reid, Louise Rymell, Ellie Sampson, Jack Sardeson, Akil Scafe-Smith, Claire Seager, Saskia Selwood, Rose Shaw, Laura Skeggs, Elin Soderberg, Sarah Stone, Chris Straessle, Carolyn Tam, Sam Tan, Benedict Tay, Ivo Tedbury, Joshua Toh, Joe Travers-Jones, Hei Man (Isabelle) Tung, Daisy Ursell, Marie Walker-Smith, Aviva (Yiren) Wang, Jessica Wang, Angus Whitehead, Timmy Whitehouse, Simon Wimble, Carolyn Wong, Max Worrell, Andrew Yap, Park Hin Yeung, Angel (Anqi) Yu

Fig. Y1.1 Small drawing room/chest/lead. Both lead, the material, and a chest, as a furnishing, have qualities that extend further than their physical presence. The installation attempted to convey the subtlety of these while manipulating the viewer into engaging with the room in a new way. Through its uses, lead conveys a strong sense of curiosity and balance — it is polished and attractive, yet toxic. The chest is an object linked with protection as you lock away your possessions in order to keep them from harm. The lock thus becomes paramount to create this security, and the piece can be seen as a device you must engage with in order to disclose the room’s history that might otherwise be overlooked. Due to a natural curiosity to participate with the new, visitors

interact with the piece, moving handles to attempt to align and understand its workings. Through changing the focal lines that run through the slides, the observer is influenced into appreciating the small, often mundane details of the room that although may seem insignificant actually tell the rich story of inhabitation in the space.

Fig. Y1.2 — Y1.3 While there is a sense of deliberate orientation, it is contradicted by the ability to personally navigate your view to a partial degree. The installation was fundamentally pivoted between the many interrelating halves that seem to be opposed to each other yet actually rely on their conflicting elements in order to retain balance; be it physical, theoretical or aesthetic. Fig. Y1.4 The device is a tool to allowed the viewer to involve themselves with a room that may seem bare and lifeless at first. Having interacted with the piece, the participant is encouraged to explore the room without the limitations of the apparatus, thus directly understanding the space through personal interaction with it.

Fig. Y1.5 Upper drawing room/chair/brick. The response to the upper drawing room involved elevating the participant, allowing them to see over the recently added roof, to the landscape that Soane and his guests would have seen. Alongside these visual ties, the rising seat encouraged visitors to interact with one another, provoking social interaction within the room. The visual focus is the Cedar of Lebanon, which can be seen through the window. It is estimated to be three hundred years old, making it an unchanged feature from Soane’s time in the house. Due to a series of extensions that occurred at Pitzhanger, the current roof hinders present visitors from indulging in Soane’s garden and consequently this installation was tailored to raising a seated guest to a height that will enabled them to view the tree. The

elevation of the person, physically allowed them to see over the roof that is indicative of the present day and the time that has passed and to see the tree that Soane would have seen, allowing the participant to experientially travel back in time. The aesthetic of the ramps refer to the repetitive nature of the brick and this was expressed through the repeated parallel planks. This slating technique, reminiscent of the positive and negative spaces linked to bricks and mortar were also referenced in the design of the seat.

Fig. Y1.6 Library/bed/brass. This installation was set in Soane’s old Library, where he and his wife used to sit reading, sewing and socialising by the large window. Given the brief of a brass bed, the piece incorporated aspects of Soane’s character and architectural intentions. There are similarities between dreams in a state of sleep and of losing yourself in a fictional dream whilst reading. Soane would often fantasise and create imaginary situations, drawing his architectural designs as ruins in the future. Manipulation and the turning through layers of history and book pages transports you to another world in a similar way to falling asleep. Soane believed the use of light to be a key element of architecture, and incorporated many convex, concave and large flat mirrors into his rooms to reflect and create infinite fantastical effects. There is a

process of transition from awake to sleep, passing through the point of control to lack of control; the tipping point of balance to imbalance. This installation was designed to take you on this journey, from an awake state in the lit room to an enveloped dream-like space, distorting and intensifying the light directly as you fall further into the dream. This effect was achieved by standing on the two footplates, holding the handles and leaning forwards falling into the ‘dream state’.

Fig. Y1.7 Monks dining room/desk/stone. The installation explored the moment of inspiration that can occur whilst seated at a desk. In conjunction with this it investigates the ideas of erosion and change. As the ‘desk’ is used, the view is altered, and specific areas are either framed or blocked from view. The process involved in this erodes the base of the installation. The piece was inspired by the story behind the Monk’s Dining Room. Soane created the character of Padre Giovanni or ‘Monk’ the guardian of the ‘ruins’ in his garden. As pieces of the ruins fell into disrepair the monk would collect them and bring them into the monk’s dining room in order to repair and archive them. In reality the room was used to store Soane’s various artifacts, such as his fragmented casts of ruins. Inspired by its surroundings the installation was intended

to archive and document it’s own ruin over time. The movement of the arm and body piece wears away at the base below, and the channels are designed to collect the dust that forms. In order to study the moment of inspiration the installation focused on the window, and the idea that inspiration comes from both the exterior and the self. In this it was imagined the ‘Monk’ observing the ruins through the window.

Fig. Y1.8 Stairwell/wardrobe/wood. This installation was set out to capture the choreography of using a wardrobe to create a response, which would influence the views of another user of the device. This began through the research into the internal pockets of space within a wardrobe and the affect of exterior light; creating shafts and barriers within the casing. Tests were made using wood through Japanese joinery, along with hand made paper and examining the materiality of natural fragmentations. The group wanted to recreate the changing depths of a wardrobe; the transitions of light that occur within it and that were so significant to Soane’s internal architecture. The device had resistance between itself and the user; creating a depth through the movement of fragments that corresponded with

using a wardrobe. From below, it immersed the user through a dialogue of movements in Soane’s stairwell. These subsequently influenced the path of views for the upper user; possibly even withdrawing the views from their control. This project set out to create a unique experience that highlights the features of the stairwell as Soane intended, whilst also allowing viewpoints to be manipulated from the basement of the stairwell. At this level glimpses through casted fragments revealed shafts of light from the above skylight; creating a series of views obscured by the pockets within the structured frame.

Fig. Y1.9 Breakfast room/table/glass. Described as the most sombre room in Pitzhanger Manor, the Breakfast Room can be interpreted as a space of contemplation and solitude. The group’s initial experiments explored the concept of the table as a divider between the shared space above the table and the unknown space below the table. A glass table however, removes this division and effectively exposes the person who is seated in the space. In experiments glass was melted down, fused to other objects, crushed and encased to gain a more thorough understanding of it as a material. It was the property of transparency that was chosen. Experimenting and documenting different materials such as wax, glass wax, and salt crystals eventually led to soap as the material for the table. Through exploring the functions of a table, it became increasingly important that the

installation made reference to the fact that Soane only ever used the space for a finite amount of time. It became the intention to re-enact this fleeting moment through the use of a fragmented surface coming together when a human interacts with it. Much like Soane’s home, the surface of the table is made up of a varied collection of materials, each carefully encased in a crafted brass frame. The article that Soane blamed for his wife’s death entitled ‘Death Blows’ forms the mapping structure for the surface of the table. The use of light in the installation was intended to amplify the object within the space, creating shadows on the walls and ceiling which moved with the surfaces distorting the viewer’s perception of the space. Fig. Y1.10 Studio Space.

(Re)Making Soane Frosso Pimenides, Patrick Weber

( R E ) M A K I N G S OA N E

An introduction to (an) ARCHITECTURE (School)

The Bartlett’s BSc degree programme aims to develop a creative, diverse and rigorous approach to architecture and design from the outset. Year 1 is centred on the design studio and is taught to the year as a whole. Students learn to observe, draw, model and design, through a series of creative tasks before embarking on an individual small building project sited in the context of London.

The main intention of the first year at the Bartlett is to explore ‘ways of seeing’ understanding and interpreting objects/events/places and learning to

look beyond the visible into the unseen and ‘absurd’ qualities of things and places. In this way, a place can also be seen as something with its own identity, which each student can personally interpret The importance of ‘character’ and ‘personality’ is emphasised throughout the design process whether it concerns analysis, site interpretation or architectural vision. A number of recording techniques are used as a way of clarifying the subject rather than as purely graphic representation Through being aware of the possibilities and limitations of various techniques, each student is learning to express and then develop critically and appropriately, through their own intuition, an idea for an architectural proposition

In the first year architecture is explored individually through cultivating ideas, exploring imagination and nurturing curiosity. Students explore, describe and communicate their ideas through a range of two- and three- dimensional techniques The aim is to be serious, passionate and ruthlessly experimental always pushing the boundaries of possible realities.

Being open and naïve in their working method, students are encouraged to take risks not being afraid of making mistakes forms the basis of the approach as they often form the basis of a new idea, a different way to see the world around them. It is the path to new possible architectures.

Students started their year with an initial set of projects centring on

each student’s passage to London and the adjustments made in their personal life during this transitional period. This was followed by a collective group installation set in front of Sir John Soane’s Country House Pitshanger Manor in Ealing After that students embarked on a one-week study trip to Porto and the Douro region, exploring the social and cultural topography of the city. These projects form the basis for each student’s personal building project set around the Vauxhall area in London – the original site of Tradencant’s Ark, the first Curiosity Cabinet and museum open to the public in London.

Previous Spread:

Fig. Y1.1 Year 1 Installation in front of Pitshanger Manor House in Ealing

This Spread: Fig. Y1.2 Loggia: The Alignment Cabinet The installation links the loggia at the Sir John Soane Museum and Pitshanger Manor House It does this by aligning certain parts towards the Museum at Lincoln’s Inn Fields The steps and the door are directed towards the Loggia and raised by 400mm to elevate the viewer to the level of the raised ground floor of Pitshanger Manor Fig Y1 3 Crypt: A Soane Passage The Crypt is a play on light and darkness, confinement and openness Entering the space evokes feelings of confinement and anxiety The central area is taken up by Pharaoh Seti’s sarcophargus From here looking up feels like being immersed in Soane’s fragments with the space caving in giving you controlled glimpses

up and through the rest of the museum Fig Y1 4 Soane’s Dressing Room: In Sir John Soane’s dressing room, getting dressed is not necessarily the prime objective; situated behind the study, Soane’s obsession with theatre shines through The room appears as a corridor from outside, and would have visitors believe that he emerges the perfect scholar from his study, however, when inside, the room evolves: Ceilings look like walls, skylights function like windows, and windows act as walls Following the movements of Soane’s dressing process, the observer will see both the views seen by Soane in his same routine, and parts of Pitshanger Manor that echo Soane’s collections Fig. Y1.5 Soane’s Study: The study in the Soane Museum is a passage with a desk; the installation is a desk with a passage The structure is an outdoor cabinet of curiosities The fragments inside the wall of the cabinet move to align with the facade of Pitshanger as soon as the viewer pulls

Sir John Soane’s GHOSTS

When the architect Sir John Soane died in 1837 he left his house and office to the nation. The Soane Museum in London’s Lincoln’s Inn Fields is a rich curiosity cabinet and an inspirational resource giving us an insight into the mind of one of most original British architects. It is not only a family house preserved as a museum it represents a testing ground for the manipulation of public and private spaces, still filled with his IDEAS and his SPIRIT Right from the

start Soane used the house in Lincoln’s Inn Fields as an architecture school, an office, a social venue in London, and a treasure chest holding his memories and artefacts of his travels. For the last three years the Sir John Soane Museum and Soane’s country house Pitshanger Manor in Ealing have been continuing his legacy by collaborating with the First Year Course. This year the groups followed the idea of ‘Soane’s Ghost’ through the echoing of a series of ‘rooms’ placed on the foreground of Pitshanger

out the desk to begin writing The movements of the pen are connected to these fragments which controlled by the viewer individually turn depending on the turning of the pen The movement of the pen is amplified by the movement of the fragments, which results in a projection of these rearranging fragments onto the facade of Pitshanger Manor Y1 5 Y1 4

INSTALLATIONS – Adjusted Space

Architectural ideas and qualities can’t be fully experienced solely through a set of plans, sections and elevations. They can only be fully tested and explored through the actual construction of a one-to-one space Installations can only exist in dialogue with an existing site, a specific place or a special situation. Architects often use installations to test out new ideas. Their temporary nature offers freedom to experiment with a new understanding of space, different

uses of materials, and ultimately with the actual processes of making and crafting.

Installations are not buildings as such they should be understood as temporary structures adjusting a given place. In order to adjust a place you need to read, understand and interpret it from the social, urban, historical and cultural context. This context is the datum and reference between ideas and the crafting.

The value of MAKING

When Richard Serra drew up his ‘Verb List Compilation: Actions to Relate to Oneself’ in 1967/68 he demonstrated that all objects are the result of actions on materials A potential success of a project rests on one (or more) of these pre-determined actions:

‘to roll, to crease, to fold, to store, to bend, to shorten, to twist, to dapple, to crumple, to shave, to tear, to chip, to split, to cut, to sever, to drop, to remove, to simplify, to differ, to disarrange, to open, to mix, to splash, to knot, to spill, to droop, to flow, to curve, to lift, to inlay ’

Students joining the Year 1 course have very little past experience with real processes of making and manufacturing. They have the luxury of being naïve and unrestricted of what might be possible Limitations are discovered and often broken rather than used as an excuse for not trying. Experimentation is at the very heart of the installation project. Right from the beginning a group of students are introduced to the idea that mind and hand should work in parallel to explore and test ideas Architecture should not just be dreamed up on paper and put into the real world by a group of builders following a set of instructions in the form of plans, sections and elevations. In the context of our installation project students are encouraged to challenge preconceived conventions about what materials should be used and how they are appropriated. This freedom allows them to investigate and invent new possible realities instead of conforming to established real possibilities

In this project students learn to get to grips with the scale of reality. They use the historical, cultural, and social as well as their own personal context as a departure point for their project In the end it is down to the alchemy of the joy of making of things with their own hand, the learning of the necessary skills, the delight of working towards the highest possible standard of craftsmanship, and the magic of a finished piece capturing the essence of an idea

Caitlin Abbott, Nadia Arkhipkina, Robin Ashurst, Tahora Azizy, Chiara Barrett, Ben Beach, Vittorio Boccanera, Leo Boscherini, Matt Bovingdon-Downe, Hannah Bowers, Arti Braude, Zion Chan, Jacky Chan, Ziqi Chen, Qidan Chen, Joanne Chen, Melanie Cheng, Nicolas Chung, Jessica Clements, Katie Cunningham, Malina Dabrowska, Rufus Edmondson, Finbarr Fallon, Agnieszka Filipowicz, Charlie Fox, Max Friedlander, Xiang Gu, Qiuling Guan, Georgina Halabi, Han Hao, Stephen Henderson, Sonia Ho, Carl Inder, Jackey Ip, Tom James, Yu-Me Kashino, Arthur Kay, Alishe Khan, Jaemin Kim, Min Kim, Suhee Kim, Pavel Kosyrev, Vanessa Lafoy, Him Wai Lai, Yolanda Leung, Wenhao Li, Kathrine Loudoun, Matthew Lyall, Martyna Marciniak, Vasilis Marcou Ilchuk, Lauren Marshall, Huma Mohyuddin, Aiko Nakada, Phoebe Nickols, Tim O’Hare, Isabel Ogden, Qianwen Ou, Cheol-Young Park, Isobel Parnell, Chengcheng Peng, George Proud, Julia Rutkowska, Jack Sargent, Daniel Scoulding, Peter Simpson, Helen Siu, India Smith, Alexia Souvaliotis, Jasper Stevens, Josh Stevenson-Brown, Saijel Taank, James Tang, Jake Taylor, Carina Tran, Joseph Travers-Jones, Corina Tuna, Panagiotis Tzannetakis, John Wan, Henrietta Watkins, Anthony Williams, Miljun Wong, Vivian Wong, Carolyn Wong, Jamie Wong, Camilla Wright, Zhanshi Xiao, Yixian Xie, Lucy Yang, Yanhua Yao, Andrew Yap,Tung Yeung, Tae-In Yoon, Yoana Yordanova, Laura Young, Alexander Zyryaev

Fig. Y1.6 Monks Parlour: Father John, in the Parlour, with the Rope This installation is based around the key concepts that can be observed in the Monk’s Parlour: detachment – as the room itself is the most out of context in relation to Lincolns Inn Fields, the journey from the point of entry to the Museum to the monks parlour disorientates the visitor; narrative – as Soane would invite guests down to his basement to participate in the story of the fictional monk, Padre Giovanni (Father John); and engulfment – as reality merges with the reality of the monk one becomes completely immersed in Soane’s created world The levels of the room and the transformation of the space when the picture room doors close give a sense of being enveloped in the room Fig. Y1.7 Picture Room – Soane’s Resting Vessel In the Picture Room, what is more intriguing to Soane is the room itself rather than the collections of famous paintings Soane marvelled at the engineering feats

involved in opening out the walls, transforming the tiny gallery and revealing new, unexpected spaces These walls move effortlessly on large, brass hinges and only one set of planes can open at any one time The installation echoes the motion of the hinges, with the planes rotating on a central pole and locking together to restrict each other ’s movement The installation is a purely tactile experience, which contrasts with the current preservation of Soane’s collection but draws parallels with its initial intention as an interactive learning tool for his students

Frosso Pimenides, Patrick Weber

BSc Architecture Year 1 Design

Students: Caitlin Abbott, Madiha Ahmad, Ben Beach, Amy Begg, Taimar Birthistle-Cooke, Ophelia Blackman, Arti Braude, Zion Chan, Hoi Yi Ginny Chau, Nuozzi Lizzie Chen, Jianhuang George Chen, Melanie Cheng, Petrina Chung, Tzen Chia, Kacper Chmielewski, Yin Hui Chung, Nichola Czyz, Samuel Dodsworth, Charles Dorrance-King, Samuel Douek, Kate Edwards, Gary Edwards, Sarah Edwards, Ivie Egonmwan, Amber Fahey, Roma Gadomska-Miles, Geethica Gunarajah, Georgina Halabi, Alice Haugh, David Hawkins, Joseph Hawsworth, Dean Hedman, Ashley Hinchcliffe, Mai Hitomi, Kawai Ho, Karen Hu, Jackey Ip, Tomasz Jasinski, Elzbieta Kaleta, Yu-Me Kashino, Yoonjin Kim, Celestria Kimmins, Emma Kitley, Fergus Knox, Janice Tsz Lau, Sandy Yin Lee, Carmen Lee, Lucas Wei Ler, Yolanda Leung, Jamie Lilley, Kok Lim, Brook Ting Jui Lin, Matthew Lucraft, Sam Mcgill, Anna Lisa Mcsweeney, Harriet Middleton Baker, Huma Mohyudin, Allanah Morrill, Hui Zen Ng, Shiue Pang, Chengcheng Peng, Rachel Pickford, Seth Pimlott, Sophie Richards, Luke Scott, Pippa Shaw Carveth, Lauren Shevills, Simran Sidhu, Julian Siravo, Helen Siu, Melody Lok Siu, Kate Slattery, Richard Smith, Marcus Stockton, Saijel Taank, Jacob Taylor, Dorota Urbanska, Deniz Varol, Leonie Walker, Nicholas Warner, Angeline Wee, Tao Wei, Amalie White, Nadia Wikborg, Vivian Wai Wong, Alexander Worsfold, Tim Shou Wu, Nawanwaj Yudhanahas, Xin Zhan, Songyang Zhou, Alexander Zyryaev

The Bartlett’s BSc degree programme aims to develop a creative, diverse and rigorous approach to architecture and design from the outset. Year 1 is centred on the design studio and students observe, draw, model and design, based in the School’s design studios and workshop, from the first week onwards.

The main intention is to explore ‘ways of seeing’; understanding and interpreting objects/events/places and learning to look beyond the visible into the unseen and ‘absurd’ qualities of things. The importance of ‘character’ and personality are emphasised throughout the design process whether in analysis, site interpretation or architectural vision. A number of recording techniques are used as ways of clarifying the subject rather than as purely graphic representation. Through being aware of the possibilities and limitations of various techniques, each student learns to express and then develop critically and appropriately, an intuitive idea for an architectural proposition.

This year, starting with a collection of objects the students built eight installations around Pitzhanger Manor, Sir John Soane’s house in Ealing. Each of these follies was designed and built as a response to Hogarth’s A Rake’s Progress. After a mapping exercise in Marseilles and the Camargue the final projects of the year were individual building interventions on several small pocket sites around Borough Market and Southwark.

Year 1 Design Directors: Frosso Pimenides & Patrick Weber

Tutors: Kyle Buchanan, Margaret Bursa, Lucy Leonard, Johan Hybschman, Brian O’Reilly, Jonathan Pile, Gill Scampton, Nikolaos Travasaros

Opposite page clockwise from the top: Jamie Lilley, Ashley Hinchliffe, Yoonjin Kim and Shiue Nee Pang. Top: Building development models by Sam Douek.

Bottom: Building development models by Carmen Lee.

Installations based on William Hogarth’s A Rake’s Progress in Sir John Soane’s garden in Pitzhanger Manor House, Ealing. Clockwise from top left: ‘The Heir’, ‘The Levee’, ‘The Orgy’, ‘The Arrest’.

Clockwise from top: ‘The Gaming House’, ‘The Madhouse’, ‘The Prison’, ‘The Marriage’.

Top: Building project by Ashley Hinchcliffe. Bottom: Building project by Nicola Czyz.

Top: Building project by Brook Lin. Bottom: Building project by Sarah Edwards.

Frosso Pimenides, Patrick Weber

ArchitectureYear 1 Design

Muhammad Abd Rahman, Jae Ahn, Yll Ajvazi, Rachel Antonio, Emily Arries, Charlotte Baker, Chloe Baxter, Cherry Beaumont, Kun Bi, Ophelia Blackman, Charles Blanchard, Luke Bowler, David Caldwell, Emma Carter, Jia Chen, Jianhuang Chen, Nuozzi Chen, Ran Chen, Theclalin Cheung, Tzen Chia, Oliver Collins, Marcus Cornthwaite, Conner Cunningham, Emily Doll, Charles Dorrance King, Max Dowd, Natalia Eddy, Ivie Egonmwan, Ruthie Falkner, Frank Fan, Ying Fu, Yue Gao, Naomi Gibson, Georgina Goldman, Alicia Gonzales-Lafita, Rosemary Hahn, Ryan Hakimian, David Haslam, Mai Hitomi, Aaron Ho, Jonathan Holmes, Azuki Ichihashi, Ashleigh James, Sophia Kelleher, Anja Kempa, Rachel King, Amy Kong, Maryna Kuchak, Su Jin Kwon, Wai Lam, Samson Lau, Aaron Lee, Carmen Lee, Rebecca Li, Wendy Lin, Angela Lo, Mae Ling Lokko, Frederick Lomas, Laura Low, Titi Lucas, Sheung Tang Luk, Tess Martin, Gabrielle Masefield, Nickolas Masterton, Nabi Masutomi, Ami Matsumoto, Emily Mccaul, Samuel Mcgill, James Middelton, Ekaterina Minyaeva, Shireen Mohammadi, Gary Mok, Amada Moore, Rushda Morshed, Eri Nakagawa, Sirisan Nivatvongs, Patrick O’Callaghan, Bayan Okayeva, Augsutine Ong Wing, Suet Pak, Ahmed Patel, Adam Peacock, Natalia Petkova, Rachel Pickford, Asha Pooran, Joanne Preston, Tian Qin, Muhammad Sahrum, Aimee Salata, Arub Saqib, Robert Schultes, Francesca Seal, Hongmiao Shi, Samson Simberg, Julian Siravo, Kate Slattery, Louis Sullivan, Cho-Hee Sung, Emma Swarbrick, Stanley Tan, Nada Tayeb, Jonathan Tipper, Antonia Tkachenko, William Tweddell, Fidan Uryan, Deniz Varol, Tatum Wangsatimur, Zhang Wen, Sandra Youkhana, Li Zhou

The Bartlett’s BSc Architecture degree programme aims to develop a creative, diverse and rigorous approach to architecture and design from the outset. Year 1 is centred on the design studio and is taught to the year as a whole. Students observe, draw, model and design, based in the School’s design studios and workshop from the first week onwards.

The main intention is to explore ‘ways of seeing’; understanding and interpreting objects/events/places and learning to look beyond the visible into the unseen and ‘absurd’ qualities of things. In this way, a place can also be seen as something with its own identity, which each student can personally interpret. The importance of ‘character’ and personality is emphasised throughout the design process whether it concerns analysis, site interpretation or architectural vision. A number of recording techniques are used as a way of clarifying the subject rather than as purely graphic representation. Through being aware of the possibilities and limitations of various techniques, each student learns to express and then develop critically and appropriately, through their own intuition, an idea for an architectural proposition.

This year Sir John Soane was at the centre of all projects. Starting with a collected object the year completed his house in Ealing, Pitzhanger Manor, with a series of furniture interventions. After a mapping project in Athens each students developed an individual building proposal along a route stretching from Broadway Market and Columbia Flower Market to Brick Lane.

Year 1 Design Directors: Frosso Pimenides and Patrick Weber

Tutors: Kyle Buchanan, Lucy Leonard, Brian O’Reilly, Romed Perfler, Jonathan Pile, Juliet Quintero, Toby Smith, Nikolas Travasaros

This page and facing page: Group installations in Sir John Soanes Pitzhanger Manor House, Ealing.

This page top Molly Yue Gao, Bird Nest Soup Restaurant; bottom Tess Martin, Narrowboat Repair Workshop.

This page, top Naomi Gibson, Experimental Brewery; bottom Wendy Lin, Sari Weaving Workshop.

This page, top Naomi Gibson, Experimental Brewery; bottom Sandra Youkhana, Flower Therapy Institute.

This page clockwise from the top Naomi Gibson, Experimental Brewery; Maryna Kuchak, Knitting School; Frank Fan, Noodle Restaurant.

Frosso Pimenides, Patrick Weber

Year 1 Design

William Armstrong, Khalid AlSugair, Nichola Barrington-Leach, Nicholas James Blomstrand, Laura Brayne, Robert Burrows, Anton Chernikov, Giulia Cerundolo, Vinicius Machado Cipriano, Pasara Chaichanavichkij, Jia Chen, Gladys Yan Yi Ching, Haeseung Choi, Joseph Dejardin, Thomas Dichmont, Nicholas Elias, Yuan Gao, Maria Goustas, Joseph Gautrey, Alicia Gonzalez-Lafita Perez, Joshua Green, Emilia Hadjikyriakou, Frances Heslop, Alexander Holloway, Eleonora Christina Hadjigeorgiou, Katherine Hatch, Yugiao He, Stanley Ho, Kate Holt, Amelia Hunter, Azuki Ichshashi, Keiichi Iwamoto, David Jones, Kar Yeung Rina Ko, Bethan Knights, Lingyi Kong, Titilope Ebun-Olu Lucas, Rebecca Lane, Ka Man Leung, Lydia Lim, Christopher Haiman Leung, Yee Yan Lau, Daniel Lane, Stefanos Levidis, Thandiwe Loewenson, Peivand Mirzaei, Chritopher Mobbs, Grace Ugo Alache Mark, Rhianon Morgan-Hatch, Claire Morgan, Sarah Martin, Shireen Mohammadi, Hyder Mohsin, Rushda Ilham Morshed, Risa Nagasaki, Mei Zhi Neoh, Laura Neil, Sabina Nobi, Bayan Okayeva, Stefano Passeri, Michael Pugh, Francesca Pringle, Simone Persadie, Matteo Imran Perretta, Joseph Paxton, Adam Peacock, Emma Roberts, Charlotte Reynolds, Rupert Rampton, Manuel Ribeiro, Lucy Rothwell, Samson Simberg, Cho-Hee Sung, Hugh Scott Moncrieff, Sang-Soo Ha, Megan Townsend, Camille Thuillier, Rebecca Thompson, Jaymar Vitangcol, Yuchen Wang, Angela Ningyi Wang, Christopher Worsfold, Max Walmsley, John Han Owen Wu, Imogen Webb, Linlin Wang, Kirsty Williams, Clarissa Yee, Emily Yan, Sandra Youkhana, Mika Zacharias, Yuan Zhao, Alexander Zhukov.

The main intention of Year 1 Design is to explore ‘ways of seeing’: understanding and interpreting objects/places/events and learning to look beyond the obvious and visible into the unseen and often ‘absurd’ qualities of things. In this way a place can also be seen as something with its own identity, which each student can interpret in a different way. The importance of ‘character’ and ‘personality’ is emphasised throughout the design process, whether it concerns analysis, site interpretation or architectural vision. Inventiveness and imagination are cultivated through a series of design projects which tackle a range of scales and experiences and are constructed or represented through models and drawings.

The year started with an analytical study of a found object and a critical mapping of a place in Bow, in East London. This was followed by a group installation set on eight sites around Bow Church each exploring the term ‘field’. A measured architectural section of a critical part of Bilbao and Hastings explored a special quality of the chosen site. These initial investigations bring together all the skills developed throughout the year. They are distilled into a building project – a Crofters Residence in Hastings. Each student works individually on his/her own program brief. These range from a fly fishing centre to a gingerbread man bakery, from a pottery to a laundrette, from a fisherman’s spa to a beach glass blowing studio, from a pine tar workshop to a dead letter office.

Year 1 Design Directors: Frosso Pimenides and Patrick Weber. Tutors: Susanne Isa, Lucy Leonard, Joe Morris, Brian O’Reilly, Jonathan Pile, Renee Searle, Toby Smith, Nikolas Travasaros

Opposite clockwise from the top left: Anton Chernikov’s Lobster Suit; Group Installation, Bow Church, Depot/Porcelain; Stefano Passeri Hastings Rabbit Section; Khalid AlSugair, Glove. Above, clockwise from the top left: Group Installation, Three Mills: Spice/Bridge; Group Installation Alleyway, Fish/Canal

Clockwise from the top left: Mika Zacharias, Fisherman’s spa; Bethan Knights, Preservation centre, Stefano Passeri Fly fishing centre.

Above clockwise from the top left: Megan Townsend, Paper making poet; Joseph Gautrey, Winery; Nick Elias, Fish smoke house

Top: Charlotte Reynolds, Sail making workshop. Bottom: Stanley Ho, Pottery workshop in a cliff.

This page: Kirsty Williams, Gingerbread Man Bakery.

Frosso Pimenides

BSc Year 1 Design

Leander Adrian, Zahir Ahmad, Mark Attmore, Karen Au, Aminah Babikir, Emma Bass, Janinder Bhatti, Jane Brodie, Emi Bryan, Joel Cady, Xueting Snow Cai, Keti Carapulli, Yu-Wei Chang, Ko Wei Gabriel Cheung, Joanne Clark, Jason Claxton, Olivia Crawford, Alexandra Critchley, Alisan Dockerty, Daniel Dodds, Lucinda Dye, Pooh Eamcharoenying, Kenzo Ejiri, Daryl Fitzgerald, Katie Fudge, Theo Games Petrohilos, Victor Hadjikyriacou, Alevtina Golovina, Tamsin Hanke, Ben Hayes, Kaowen Ho, Imogen Holden, Theo Jones, Sonlia Kadillari, Matilda Keane, Thomas Kendall, Joyce Lau, Paul Leader-Williams, Young Woo Lee, Hong Jin Leow, Stafanos Levides, Joanna Levy, Keong Lim, Meng Liu, Jialun Vincent Mao, Nur Md Ajib, Richard Moakes, Chiara Montgomerie, Charlotte Moon, Saturo Nakanishi, Lucy Ottwell, Byeong-Ju Park, Sungwoo David Park, Dhiren Patel, Olivia Pearson, Nicola Perret, Chi Philip Poon, Felicity Price-Smith, Isabelle Priest, Tingting Qin, Rida Qureshi, Dimple Rana, Harriet Redman, Louise Robson, Francis Roper, James Sale, Alistair Shaw, Young Song, Jack Spencer-Ashworth, Alex Sprogis, Cathrine St Hill, Claire Taggart, Martin Tang, Eryk Ulanowski, Ellen Utomo Thomas Vie, Anthony Whittaker, Rain Wu, Suyang Xu, Yan Yan, Congjing Yao, Michelle Young, Tim Yue, Jingru Zhang, Yuan Zhao.

The main intention of Year 1 Design is to explore ‘ways of seeing’: unerstanding and interpreting objects/places/events and learing to look beyond the obvious and visible into the unseen and often ‘absurd’ qualities of things. In this way a place can also be seen as something with its own identity, which each student can interpret in a different way. The importance of ‘character’ and ‘personality’ is emphasised throughout the design process, whether it concerns analysis, site interpretation or architectural vision. Inventiveness an imagination are cultivated through a series of design projects which tackle a range of scales and experiences and are contructed or represented through models and drawings.

The year started with an analytical study of and object, a critical mapping of a place along the River Fleet, and a group installation set on eight sites along its course, all of which respond to different notions of ‘receptacle’, ‘well’, basin, and ‘repository’. A measured architectural section of a critical part of Palermo explored a special quality of the chosen site. These initial investigations bring together all the skills developed throughout the year into a building project – a ‘Live – Work – Vessel’. Sited along course of the River Fleet in London this building responded to the existing condition of the site and it explores moments of the past.

Year 1 Design Director: Frosso Pimentides. Coordinator: Patrick Weber. Tutors: Luke Chandresinghe, Lucy Leonard, Brian O’Reilly, Jonathan Pile, Renee Searle, Toby Smith.

This page: Group Installations Along the River Fleet. Facing page: Analytical Studies of Objects

This page, top: Jason Claxton; bottom: Daniel Dodds. Facing page, top: Janinder Bhatti; bottom: Louise Robson.

This page, clockwise from top: Tamsin Hanke, Kate St Hill, Rain Wu, Aminah Babikir. Facing page: Richard Moakes.

Frosso Pimenides

BSc Year 1 Design

Craig Allen, Carmelo Arancon, Jacob Attwood-Harris, Zahra Azizi, Aminah Babikir, Emma Bailey, Jan Balbaligo, Nicole Barcley, Alisia Bourla, Chris Burman, Kathrine Cannon, Rachel Sung Cha, Stephanie Pui Chung, Jason Claxton, Ben Dawson, Jonathan de Wind, Canzy ElGohary, Ross Fernandez, Kim Foster, Kathrine Fudge, Dalina Gashi, Kevin Green, Min Gu, James Gunn, Rachel Wanyu Guo, Chiara Hall, Daniel Hall, Ben Harriman, Kathrine Hegab, Laura Herriotts, Danielle Hodgson, Julian Huang, Michael Hughes, Alice Iu, Lewis James, Laurie Jameson, Sophia Jones, Antony Joury, Basil Jradeh, Anastasia Kaisari, Marina Karamali, Nattakorn Kointarangkul, Rina Kukaj, Anthony Lau, Daniel Lauland, Na Li, Meng Liu, Vincelt Jialun Mao, Kate Marrinan, Anna Mill, Caroline Mok, Jay Morton, Nathaniel Mosley, Chantanee Nativivat, Dos Bodin Nilkkamhaeng, Gregory Nordberg, Gordon O'Conner-Read, Alyssa Ohse, Paniz Peivandi, Marcos Polydorou, James Purkiss, Tingting Qin, Ayeza Qureshi, Justin Randle, Ned Scott, Catrina Steward, Amy Sullivan-Bodiam, Daniel Swift Gibbs, Ashmi Thapar, Richard Thebridge, Emilia Tsaoussi, Freddy Tuppen, Afra van 'T Land, Jen Wang, Gabriel Warshafsky, Joseph Wegrzyn, Christopher Wong, Ai Yamauchi, Ruofan Yao, Jung Yoon, Jennifer Young.

The main intention is to explore 'ways of seeing': understanding and interpreting objects/events/places and learning to look beyond the visible into the unseen and 'absurd' qualities of things. In this way a place can also be seen as something with its own identity, which each student can interpret. The importance of 'character' and 'personality' is emphasised throughout the design process, whether it concerns analysis, site interpretation or architectural vision. Inventiveness and imagination are cultivated through a series of design projects which tackle a range of scales and experiences and are constructed or represented through models or drawings.

These include the analytical study of an object; the critical mapping of a part of Istanbul; and a group installation in and around the main quadrangle of UCL, all of which respond to different notions of 'museum', 'theatre', 'panopticon' and 'market'. An architectural section through a key part of their installation explores a special quality of the site and the event. These initial investigations bring together all the skills developed throughout the year into a building - the 'annex' to a UCL department or society. Sited in the heart of Bloomsbury it responds to the existing condition and explores moments of density and intensity.

Year 1 Design Director: Frosso Pimenides. Coordinator: Patrick Weber. Tutors: Luke Chandresinghe, Stuart Munro, Brian O’Reilly, Jonathan Pile, Gavin Rowbotham, Matt Springett.

Opposite from top - bottom: Alyssa Ohse, Marina Karamali, Lewis James. This page: group projects in the Main Quadrangle of UCL , Museum, Theatre, Market, Panopticon.

Top: Nat Mosely. Bottom: Paniz Peivandi.

Top: Jay Morton. Bottom: Danielle Hodgson.

Top: Kathrine Hegap, Ayeza Qureshi. Bottom: Cathrina Steward, Kathrine Cannon.

Top: Craig Allen. Bottom: Daniel Hall.

Frosso Pimenides

BSc Year 1 Design

Aditya Aachi, Zahra Ahmad Akhoundi, Mayu Akashi, Peter Alexander, Sarah Alfraih, Silvya Aytova, Ioana Barbantan, Byron Bassington, Amanda Bate, Victoria Bateman, Beatrice Beazley, Charmian Beedie, Natalie Benes, Matthew Blaiklock, Julian Bond, Sarah Bromley, Naomi Bryden, Chris Carver, Peter Charalambous, Sheila Clarkson Valdivia, Philip Cottrell, James Crick, Sarah Custance, Alpa Depani, Rory Donald, Canzy El-Gohary, Costa Elia, Ed Farndale, Lois Farningham, Anna Field, Helen Floate, Kim Senwelo Foster, Stephanie Gallia, Thajinder Ghai, Mark Goddard, Antonia Hazlerigg Amanda Ho, Adam Holland, Momo Hoshijima, Brian Hoy, James Hughes, Jade Hutchinson, Yea Jin, Alexander Kalli, Tom Kay, Thomas King, Benjamin Kirk, Chloi Kletsa, Danielle Kudmany, Rosanna Kwok, Janice Lee, Christopher Lees, Wise Leung, Xiaojing Li, Kara Melchers, Elizabeth Mitchell, Negin Moghaddam, Tayvanie Nagendran, Emily Norman, Gordon O’Conner Read, Neil Oddie, James Palmer, Kuljinder Pank, Luzy Paton, Maxine Pringle, Tia Randall, David Rieser, Georgina Robinson, Benedetta Rogers, Luke Rowett, Savpreet Seehra, Elizabeth Shaw, Oliver Sheppard, Deena Shuhaiber, Anthony Staples, Alastair Stokes, Sarah Syed, Christopher Thompson, Spencer Treacy, Natalie Tsui, Andrew Walker, Simon Walker, Elizabeth Watts, Peter Webb, Bethany Wells, Dominic Wilson, Amy Wolfe, Saman Ziaie

The main intention is to explore ‘ ways of seeing’ – understanding and interpreting objects/events/places and learning to look beyond the visible into the unseen and ‘absurd’ qualities of things In this way, a place can also be seen as something with its own identity, which each student can personally interpret The importance of ‘character’ and ‘personality’ is emphasised throughout the design process, whether it concerns analysis, site interpretation or architectural vision Inventiveness and imagination are cultivated through a series of design projects, constructed or represented through models or drawings that tackle a range of scales and experiences These include the analytical study of an object; the critical mapping of a place; a critical survey and sectional drawing; and 12 installations along Regents Canal that respond to different notions of ‘floating’, ‘sinking’, ‘drifting’ and ‘mooring’ These initial investigations bring together all the skills developed through the year into a building, the ‘ annex ’ Sited along the Canal between Camden and Kings Cross it responds to an existing condition and explores the mundane character of canals in London versus the exotic character in Venice

Year 1 Design Director: Frosso Pimenides Coordinator: Patrick Weber Tutors: Rhys Cannon, Dean Griffiths, Jonathan Pile, Mette Ramsgard Thompson, Gavin Rowbotham, Matt Springett, Tomas Stokke

Opposite, clockwise from top: Saman Ziaie, Neil Oddie, Neil Oddie, Natalie Benes This page, top: Group installations, bottom: Chris Lees

Clockwise from top: Elizabeth Shaw, David Rieser, Deena Shuhaiber, Ed Farndale

Clockwise from top: Ed Farndale, Sarah Custance, Deena Shuhaiber

Frosso Pimenides

Xenia Adjoubei, Tala Akkawi, Jenna Al-Ali, Fran Alexander, Bea Beazley, Charmian Beeide, John Briggs, Pascal Bronner, Rob Brown, Josephine Callaghan, Charles Catto, Jacqueline Chak, Anabela Chan, Lik San Chan, Ronald Cheape, Barry Cho, Tammy Chow, James Church, Louise Coates, Ali Cooke, Grace Cooper, Elspeth Cornish, Phil Cottrell, Isabel Crewe, Rob Croft, Mary Dalton, Chris Day, Colomba De La Panouse, Cai-jia Eng, Olasubomi Fapohunda, Lois Farningham, Andy Friend, Veronique Geiger, Christina Gerada, Mark Goddard , Ed Greenall, Jack Gregory, Damian Groves, James Halsall, Richard Hardy, Geraldine Holland, Tsin Tee Hin, Jonathan Horsfall, Momo Hoshijima, Desmond Hung, Jan Isvarphornchai, Antony Joury, Zak Keene, Tom King, Klementyna Klocek, Elie Lakin, Ilwoo Lee, Ric Lipson, Kei Matsuda, Naomi McIntosh, Azusa Murakami, Tay Nagendran, Geri Ng, Nancy O’Brien, Gen Otsubo, Lucy Paton, Safia Qureshi, Sandesh Raj, Zurine Raper, David Rieser, Rupinder Sharma, Saana Shaikh, Oliver Simpson, Miriam Sleeman, Laura Smith, Kyna So, Alvin Tan, Rebecca Tappin, Aymee Thorne-Clarke, Alicia Tklacz, Will Trossell, Oli Udo-Udoma, Ruth Watkinson, Lukas Westcott, Abi Whitehead, Rae Whittow-Williams, Kyla Williams, Amy Wolfe, Nick Wood, Lucy Wood, Yang Yu, Zhi Zhao

The main intention is to explore ‘ ways of seeing’: understanding and interpreting objects/events/places and learning to look beyond the visible into the unseen and ‘absurd’ qualities of things In this way, a place can also be seen as something with its own identity, which each student can personally interpret The importance of ‘character’ and ‘ personality’ is emphasised throughout the design process, whether it concerns analysis, site interpretation or architectural vision Inventiveness and imagination are cultivated through a series of design projects, constructed or represented through models or drawings that tackle a range of scales and experiences These include the analytical study of an object; the critical mapping of a place; 15 group ‘shelter’ constructions that respond to a particular pocket of space in Borough Market; a critical survey and sectional drawing of a fragment of Rome (field trip); and the building –‘ante portas’ This key project of the year brings together all the skills developed through the year into a building It is sited on the fringe of the city in Southwark and explores themes of trading, crafting, healing, feasting, debating and keeping

Year 1 Design Director: Frosso Pimenides, Coordinator: Patrick Weber, Tutors: Peter Hasdell, Jonathan Pile, Gavin Robotham, Matthew Springett, Graeme Sutherland, Yen-Yen Teh, DoJanne Vermeulen

Opposite, Group ‘Shelter’ installations This page, clockwise from top left: Damian Groves, Safia Qureshi, Olasubomi Fapohunda, Veronique Geiger, Yang Yu, Nick Wood, Nick Wood, Jacqueline Chak

Top: Andy Friend, bottom: Pascal Bronner

Top: Safia Qureshi, bottom: Ric Lipson